Yep, there's currently a renaissance underway focusing on early American literature and history. In that context, and in synch with growing attention to the history of the book, we'll explore the growth of prose fiction in the century or so preceding the so-called American Renaissance of the early 1850s. We'll read Jürgen Habermas's Structural Transformation of the Public Sphere and Cathy Davidson's brilliantly expanded edition of Revolution and the Word: The Rise of the Novel in America, as well as such early examples as The Power of Sympathy, Charlotte Temple, The Coquette and one of Charles Brockden Brown's titles from the end of the 1790s, the wild Wieland, working our way toward Hope Leslie. We'll see what all the fuss was about, in Hawthorne's prefaces, about distinctions between novel and romance. In preparation for writing a 15-page research paper, each student will prepare an annotated bib, then a prospectus, then a full draft; there'll be no mid-term, then, but we'll close with a take-home exam. Meanwhile, for background on that renaissance in scholarship on early American culture, get yourself to https://theasa.net/communities/caucuses/early-american-matters-caucus and to www.societyofearlyamericanists.org.
Requirements: This course fulfills the general literature requirement for one course pre-1800. It also satisfies the requirement for coursework in the following Area of Concentration: American Literary and Cultural Studies to 1900; Feminism, Gender, and Sexuality Studies; Colonial, Postcolonial, and Transnational Literary and Cultural Studies; and Literary Genre (fiction). It also fulfills the Alterity Requirement.
As transdisciplinary praxis, Latinx Studies holistically blends a variety of methodological and theoretical approaches to analyze literatures, cultures, and experiences of or related to U.S. Latinxs. By examining how scholars such as Gloria Anzaldúa, Juan Flores, Emma Pérez, and José Esteban Muñoz, amongst others, blend third world feminism, cultural studies, queer theory, new historicism, performance studies, decolonial theory, visual studies, and psychoanalysis, students will explore Latinx Studies as a lens through which to develop their own unique critical approaches to personalized, semester-long projects. Assignments include proposing a project abstract, leading class discussion, presenting a conference talk, and submitting advanced drafts of a scholarly project.
Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Post-1900 Literature and Culture; and Colonial, Postcolonial, and Transnational Literary and Cultural Studies. This course also meets the Alterity requirement.
Requirements include weekly poems, faithful attendance and discussion, conferences, craft lessons, and a final portfolio. Craft lessons will be drawn from the following books: Yolanda Franklin, Blood Vinyls (ISBN 9781934695579); Rebecca Hazelton, Fair Copy (ISBN 9780814251850); Stephen Mills, A History of the Unmarried (ISBN 9781937420796); and Josephine Yu, Prayer Book of the Anxious (ISBN 9781932418583). Students are advised to order these books now and become familiar with them over the summer.
This is a course about the history of ideas. It asks us to think about the frameworks we use to talk about and analyze literary and cultural texts. It is therefore deeply engaged in the politics of interpretive frameworks. We will carefully read critical texts that were ground-breaking in their day and try to consider what they can offer to our understanding of our own contemporary world and scholarly practices. Most of these texts are known for their stylistic and conceptual difficulty. In parsing the ideas that currently circulate in the scholarly debates of our discipline, we will concentrate on some of the most compelling threads of inquiry in our field.
The medium of film allegorizes the major concerns of modernity, especially when paying special attention to modernity as (a) indicative of a change in experience and (b) determined by artificiality and the concept of re-production. As film theorist Raymond Bellour contends, "the actual process of substituting a simulacrum for a living being directly reduplicates the camera's power to reproduce automatically the reality it confronts"; accordingly, "every mise en scène of the simulacrum thus refers intrinsically to the fundamental properties of the cinematic apparatus…in the age of mechanical reproduction the artificial has become a determining condition for modernity." Paying special attention at the level of the subject (or animated object) rather than the city, this course will address the concept of artificial life as one of film's most valuable theoretical and visual paradigms. Specifically, we will explore how the filmic medium becomes predicated upon the artificialization of the female body. From this starting point, we will aim to interrogate the perpetual mimesis of woman on screen, mechanized and fetishized by the camera's lens, through the period of early cinema to the present.
We will take a three-pronged approach for our examination: an exploration of how 19th century literature functions as an archaic blueprint for the cinema; then, the major component of the course will be a dual exploration of film theory and film text. Authors and theorists studied may include: Edgar Allan Poe, Villiers de l'Isle-Adam, Oscar Wilde, Walter Benjamin, André Bazin, Raymond Bellour, Roland Barthes, Laura Mulvey, etc. Films for study may include: Metropolis, Blonde Venus, Sunset Boulevard, Vivre sa vie, Cleo de 5 à 7, Vertigo, Marnie, Her, and Blade Runner 2049.
Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Feminism, Gender, and Sexuality Studies; Post-1900 Literature and Culture.
Pedagogy Workshop is intended to provide you with continued support during your first year as a graduate teaching assistant in the FSU College Composition Program. Support for those currently teaching ENC 2135 as well as preparation for teaching ENC2135 in the spring will be emphasized.
Requirements: This course is required of all graduate teaching assistants in the Department of English during their first fall and spring semesters in the program.
This course is an intensive study of Geoffrey Chaucer's great story collection, the Canterbury Tales (in the original Middle English), considered in light of the literary-historical and intellectual interests of late-medieval England. Our primary goal is to explore Chaucer's artistic goals and strategies while becoming familiar with the textual and cultural conditions that shaped the early circulation of Chaucer's text.
Our concerns will include: the status of the Tales as a story collection that bears both a closural framework and a brazenly open textuality; the poet's use and abuse of his sources and influences in designing individual tales; medieval theories of authorship as they inform Chaucer's various authorial and narratorial guises; and the generic multivalence of the tales and of Chaucer's artistic design. In exploring these issues, we will reflect repeatedly on how the Tales, which Chaucer himself largely denounced-tongue quite possibly in cheek-in his "Retractions," contribute to Chaucer's status as the first canonical English vernacular author. We will read nearly all of the Tales as well as a healthy cross-section of 20th- and 21st-century criticism on them, paying attention to the work's (highly problematic) overall structure as well as the dynamic of its internal components. Instead of advocating for any one critical or methodological position, this course promotes a balanced, integrated view of various fruitful scholarly perspectives, so that seminar participants will emerge as versatile and analytically sentient readers of Chaucer. No prior experience with Middle English is expected, although learning to read and pronounce Middle English is a formal expectation of the course and will involve a collective effort. Requirements tentatively include regular, active participation in seminar; a Middle English recitation of a passage of your choice, with contextual discussion; a book review; a research proposal with annotated bibliography, and a substantial final research paper.
NOTE ON TEXTBOOK: The specific edition required for this course is Geoffrey Chaucer, The Canterbury Tales: Complete, ed. Larry D. Benson (Boston: Houghton Mifflin, 2000). Alternatively, The Riverside Chaucer, ed. Larry D. Benson may be used, but no other editions are permitted. Affordable used copies of both of these editions are readily available on Amazon, so please plan ahead.
Requirements: This course fulfills the general literature requirement for one course pre-1660 or one course pre-1800. It also satisfies the requirement for coursework in the following Area(s) of Concentration: Medieval and Early Modern British Literary and Cultural Studies through 1660.
Class members will consider the stage as an echo chamber of previous performances, and the nineteenth-century novel as a stage for ghosts of the theatrical past. How do Shakespeare's plays (most notably The Winter's Tale) get reinvented by the Romantics, and how do celebrity actors become irrevocably bound to particular roles? We will consider the afterlives of star performances as they are evoked by later novels and plays (such as Charlotte Brontë's Villette, Henry James's The Aspern Papers, and Ronald Harwood's After the Lions). We will also explore how the advent of recording technology altered cultural imaginings of the theatrical past. Our discussions will be supported by readings in theatre history and criticism (especially the work of Marvin Carlson and Joseph Roach), as well as by histories and theories of the voice and its technological reproduction (including the writings of Wayne Koestenbaum, Roland Barthes, and Mladen Dolar).
This class asks students to develop a daily writing discipline in order to use writing as a form of active and creative thinking (and also to avoid end-of-semester binge writing). Imagine an interpretive continuum looking something like this:
Reading Notes . . . Trial Interpretations . . . Seminar Paper
Although the number of pages students generate at each stage of the continuum is flexible, the obligation to write-early on in the semester and consistently across the semester-is not. The point of all this writing will be to build the groundwork for a substantial portfolio of critical prose-cogent, polished, engaging work.
Students have the option of experimenting with new research methodologies and publishing platforms, and will be able to draw on technological support for more experimental endeavors. Students from all disciplinary fields are welcome.
Requirements: This course satisfies the requirement for coursework in the following Area of Concentration: British and Irish Literary and Cultural Studies: 1660-1900; a Literary Genre (fiction).
How did the novel - a relatively recent form - reach such dominance during the nineteenth century? How have scholars of narrative, history, and genre variously told the story of the novel? What is the fate of the novel now, in contemporary literature and criticism?
This course uses the British 19th-century novel as a lens through which to examine classic and new theories of this genre. We'll start with a quick survey of some of the classics of novel history and theory and then move to some of the interesting and provocative ways that scholars have been theorizing "the novel," especially the 19th-century novel, over the past decade. We'll conclude by considering "why the novel," when other forms of media also offer the pleasures and challenges of narrative. We'll use as our test cases three diverse novels from the period: Charles Dickens, Oliver Twist; George Eliot, Mill on the Floss; and Richard Marsh, The Beetle. Our contemporary critics not only extend our study of novel history and theory but also allow us to debate how to read a book (literary and critical).
Requirements: This course fulfills the general literature requirement for a course in 1660-1900. It also satisfies the requirement for coursework in the following Areas of Concentration: British and Irish Literary and Cultural Studies: 1660-1900; Literary Genre (fiction).
This course explores African American (AFAM) folklore from a gendered, feminist lens and feminist theory from a folkloristic lens in order to highlight the unique contributions of feminist folklorists and folkloristics to our understanding of women's expressive culture. Therefore, this course critically engages folklore and vernacular theory, AFAM cultural studies, and queer theory to examine the representation of sexual desire in AFAM folktales, fiction, stand-up comedy, blues, and hip-hop created by Africana women, especially outside the boundaries of normativity and respectability, so as to gain a polycentric knowledge about race, sexuality, class, and gender.
Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Feminism, Gender, and Sexuality Studies; African-American Literary and Cultural Studies. This course also meets the Alterity requirement.