Loyola University Maryland

Department of English

Course Descriptions

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English majors and minors should consult course cycle before registering for any course.

English majors and minors are encouraged to complete the advising template (PDF) before meeting with their academic advisors. Those who choose to register online might consider filling out the document in Word, saving it to a file, and then e-mailing it to their advisors as part of the "permit to register" request.


                                Spring 2016

EN 097 Internship in Public Schools
EN 098 Internship in Private Schools
EN 099 English Internships

Students interested in pursuing an internship must meet with Dr. Cole. Written or electronic permission of the instructor is required. Students may take one internship class for degree credit. It will count as an elective, not as a course fulfilling requirements for an English major or minor.


EN 101: Understanding Literature

EN 101 is an introduction to the serious, college-level study of literature. It seeks to give students an understanding of imaginative writing, means for reading this writing perceptively, and basic principles for making interpretive judgments. While there is no common text for EN 101, all instructors share the goal of bringing students to an enriched awareness of the power and beauty of our language and of its potential as an expressive and persuasive tool. The course is, therefore, writing intensive, and seeks to teach students to develop their writing skills with particular attention to the crafting of analytical argument.

A small number of EN 101 sections are theme-based, meaning that in addition to serving as an introduction to literary study as described above, they are organized around a particular theme. These are described in detail below:

Understanding Literature - First Encounters and the Literary Imagination
EN 101.06 and EN 101.08
MWF 12pm-12:50pm; MWF 2pm-2:50
Professor Dan Mangiavellano

In this class, students will learn analytic strategies central to understanding and writing about literature. Reading assignments, writing prompts, and class conversation will consistently emphasize links between critical reading and written argumentation. Students will develop a critical vocabulary for literary analysis while practicing writing and argumentative skills that will contribute to thoughtful, nuanced arguments about (1) how a piece of literature works and (2) why an argument about literature matters to a broad, non-specialized audience. This is a writing-intensive course, and our goal will be to develop clear, sophisticated arguments that are not only technically precise, but evocative in their scope and ambition. Through reading, discussion, and writing about poetry, prose, and drama, students will cultivate the creative and analytic habits necessary for producing clear, complex, and coherent arguments.

To this end, our course theme will focus on representations of “first encounters” in literature and culture. Reading assignments will emphasize “first encounters” between or among races, genders, and populations. In this class, we use reading and writing assignments to explore provocative connections between literature, the human condition, and tenets of cura personalis at Loyola University Maryland. Our theme will remind us throughout the semester of the dynamic between a writer and an audience—an especially important “first encounter” for all writers to keep in mind.

Understanding Literature: Villains, Rogues, and Wastrels
EN 101.10 EN 101.18 EN 101.19
MW 3:00-4:15 T TH 1:40-2:55 T TH 3:05-:420
Professor Benjamin Jude Wright

From Breaking Bad, to Dexter, to Scandal contemporary media is filled with protagonists of dubious moral character. This class will explore these issues of villainy and moral corruption from a number of angles. Why do characters like Walter White, or Macbeth, or even the devil appeal to us? What do we learn from examining the troubling psychologies of such figures? What do they say about the cultures they emerge from? We will tackle these questions and more in a variety of literary genres including fiction, poetry, and drama. Along the way we will focus on the nuts and bolts of literary analysis and seek to become more astute readers and critics of literature. In order to do this, students will learn the formal properties of literature and develop skills in close-reading and critical analysis. Students will learn to situate themselves within the critical conversation and become participants in the on-going dialogue about the texts we read. Our villainous (or at least morally dubious) texts will include selections from John Milton’s Paradise Lost, Shakespeare’s Macbeth, poems by Robert Browning, and Oscar Wilde’s The Importance of Being Earnest (amongst other works).

Professor Abromaitis
T/TH 9:25-10:40

The literature of the West reflects the rich history of Western Civilization that extends from tenth-century B.C. Greece to twenty-first-century A.D. America. The philosophy of Plato with its focus on a transcendent realm and that of Aristotle with its focus on this world have influenced thinkers and practitioners in all disciplines. The search for beauty, truth, goodness, and unity is a persistent fact of human life as is the persistent confrontation with the problem of evil. As we read together the poetry and drama of the past five-hundred years and the prose fiction of the past two centuries, we will address how a literary work of art expresses the relationships of human beings with God and with each other; how it portrays love and indifference, fidelity and betrayal, virtue and sin, life and death. We will emphasize close reading, critical thinking, analytical writing, and literary terminology. With conscientious and informed efforts students can discern much of the meaning that authors present in their work and enjoy the pleasure that literature offers.
Authors we will read include William Shakespeare, John Donne, George Herbert, Lord Tennyson, Matthew Arnold, Gerard Manley Hopkins, William Butler Yeats, T. S. Eliot, C. S. Lewis, Flannery O’Connor, Ernest Hemingway, and Charles Dickens.
There will be quizzes, a mid-term, a final, and two to three papers.

Professor Julius Lobo
T/TH 4:30-5:45

In Herman Melville’s Moby-Dick, Ishmael begins his narrative by stating: “Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses . . . then, I account it high time to get to sea as soon as I can” (1). For Ishmael, going out to sea is a cure for the depressing, mundane life lived on land. The sea offers an escape for Melville’s famous narrator: a way to break free from an existence “tied to counters, nailed to benches, clinched to desks” (2). But perhaps most importantly, the sea inspires Ishmael to seek experiences beyond anything the known world can offer to him. Whereas the world of land is rigid and predictable, the world of the sea is uncharted and open to adventure.

In this course, we will examine how writers imagine and represent that world of the sea through a wide variety of novels, short stories, and poetry. While a good part of our study will be devoted to having fun with these quirky and odd works, we will also investigate the reasons why the sea appealed to so many writers, and do so by mastering the language of literary analysis. Whether expressing philosophical attitudes about life and death as the waves lap against the shore, extolling the sea as a democratic meeting place for many peoples and nations, presenting characters that lust after fame, wealth, and posterity from the discovery of new worlds, or revealing the dark legacy of slavery and conquest that often built those new worlds, the authors on our syllabus meticulously fashion works that demonstrate the multi-faceted relationship between human culture and the watery world.


EN 201.04: Major Writers: English- Monstrous Fictions
Professor Benjamin Jude Wright
MW 4:30-5:45

“Monsters are meaning machines,” writes Judith Halberstam. This class will take that claim, that the monstrous can represent to us a panoply of intersecting and conflicting meanings, seriously as we examine significant works in British literature. We’ll begin with the Gothic tales of the eighteenth-century and conclude with contemporary urban fantasy. Along the way we’ll read famous monstrous works such as Frankenstein, and Dracula, as well as the poetry of Keats, Coleridge, Mary Darby Robinson, and Robert Browning amongst others. Our class will conclude with China Miéville’s whirlwind novel Perdido Street Station. As we delve into this history of monsters in British literature we will see the way in which the monster has been used to both defend and subvert societal norms and values, undermine and establish tradition, and disempower and empower marginalized populations. Along the way we’ll draw from the critical work of scholars and see what these monsters tell us about the culture(s) they emerged from, and how every generation gets the monster it deserves.

EN 201.05: Major Writers: English Literature
Professor Abromaitis
T / TH 3:05-4:20

The epic and romance occupy a central place in the canon of western literature. In these works questions of good and evil, life and death, honor and shame are posed and answered. The transcendental qualities – beauty, truth, goodness, and unity – occupy the minds and hearts of the heroes even as they confront the inevitable fact of evil, individual and societal. We will read these works closely for content, themes, structure, aesthetic qualities, historical context, and generic structures.
READINGS: Beowulf, Sir Gawain and the Green Knight, excerpts from The Fairie Queene, Paradise Lost (Books I, II, IX, XI, XII), and all of The Lord of the Rings.
PAPER: Students will write a critical and analytical research paper on one of the assigned works that will involve research in the library.
QUIZZES: There will be quizzes on each of the works (on Milton and Tolkien there will be several quizzes).
TESTS: There will be a mid-term and a final examination.  

EN 201.06: Major Writers: English Literature: Growing Up Modern.
Professor Mark Osteen
TTH 1:40-2:55

Childhood and adolescence are modern inventions. Building upon that fact, this course explores how the literature of the past two centuries has portrayed growing up. Among the questions we ask in the course are the following: what trials do children and adolescents endure on their way to adulthood? How do adolescents respond to authority? How do unusual people (such as disabled youths) challenge or confirm our definitions of normality? Is coming of age the same across different cultures? In some cases we will pair texts to show the contrasts and similarities between the sensibilities, styles, and subjects of disparate eras. Readings will include William Wordsworth’s poems, Mary Shelley’s Frankenstein, Hardy’s Far From the Madding Crowd, short stories by James Joyce and Alice Munro, and a selection of recent novels, such as Mark Haddon’s The Curious Incident of the Dog in the Night-Time, David Mitchell’s Black Swan Green, Yann Martel’s Life of Pi, Ian McEwan’s The Children Act, and Margaret Atwood’s Oryx and Crake. We’ll also view and analyze film versions of selected texts.

Each student will write a research paper and give an oral presentation. Students will also write two brief papers in which they reflect on their own identities, disabilities and confrontations with authority. Finally, students will have the privilege of completing a midterm and a comprehensive final exam.

EN 203.01 and .02 Major Writers: American Literature
MWF 11-11:50 MWF 11-11:50
Professor Monson-Rosen

Despite seeming to be two disciplines quite distinct from each other, American literature and American science have, according to one scholar, “permeable boundaries.” This class will investigate the interconnections enabled by that permeability, examining the interrelationships and mutual influences in literature and science. Over the course of the semester, we will explore the ways in which literature intervenes in the discourse of the sciences, structuring and shaping it, yet always maintaining a connection to the human.

EN 203D.03 and .04 Major Writers:  American Literature
MW 3-4:15 MW 4:30-5:45
Professor Ellis

Focusing on the ways writers develop a language and a literary form that is distinctively American, this EN203D course examines the ways writers present diversity and solidarity as founding principles of the United States. We examine writers from many differing communities, creating an ongoing investigation into the way people define themselves and others. Many of the writers we read provide distinct but complementary perspectives on personal and national identity: for example, Mark Twain’s The Adventures of Huckleberry Finn and Charles Johnson’s Middle Passage create innovative literary forms that depict the way slavery affects both black people and white people. Though the books are written nearly 100 years apart, and though one writer is black and the other white, the works share common ground in experimenting with ways to tell stories that promote freedom and justice. The course offers a strong foundation in both time-honored American fiction, drama, and poetry, and contemporary multi-ethnic classics.

EN 203.01 and .02 Major Writers: Shakespeare; Strange Bedfellows
T/TH 1:40-2:55 T/TH 3:05-4:20
Professor Hinkel

Shakespeare’s plays are so good that they can speak for themselves, right? This course will go one better. Shakespeare’s plays are so good that they can speak with and to the concerns of others: other times and places, other tribes and tribulations, other fields and endeavors. Ever wonder what the discussion might sound like between a 16th century Jewish financier and one of our contemporary corporate gurus? Or what a boy playing a girl dressed as a boy playing herself might have to say to a pair of male musicians on the lamb disguised as women in an all-girl band? Or what advice a couple of star-crossed lovers could get from an evolutionary psychologist? Or how a disgraced Roman general might have a thing or two to teach one of the new centurions of the American empire? We’ll pair Shakespeare’s plays with prominent works from other disciplines (business management, theology, film, psychology, foreign affairs) and put them in active conversation, encouraging each to talk back to the other. Requirements include reading quizzes and a handful of short reflection papers, a midterm exam, a performance scene and research essay, and a final project.


EN 300.01: English Literary History until 1800
Professor Scheye
MW 3:00-4:30

This course traces out the main line in English literary history, the tradition handed down from Chaucer to Spenser to Shakespeare and, finally, to Milton. In addition to placing these authors in the context of their times and in relationship to one another, the course will examine how the tradition continues into the modern world beginning with its influence on the 18th century. Because this course is content-oriented, and because the reading assignments are substantial, there will be frequent quizzes and tests but no formal paper.

EN 307.01 Medieval Passion
Professor Forni
T/Th 9:25-10:40

In this course we will explore the different manifestations of love found in various popular medieval genres, including the courtly love manual, romance, allegory, and epistolary exchange. We'll trace the origins and development of courtly love (beginning with Ovid), then move on to how this odd kind of passion (adulterous, masochistic) is represented in courtly romances, focusing on the affairs of two pairs of archetypal medieval lovers: Guinevere and Lancelot, and Tristan and Isolde. Texts: Plato’s Symposium; Ovid, The Art of Love; Andreas Capellanus, The Art of Courtly Love; Chretien de Troyes, Arthurian Romances; Beroul, Tristan and Iseult; Lais of Marie de France; The Letters of Abelard and Heloise; Catherine of Siena, A Passion for Truth; Natalie Zemon Davis, The Return of Martin Guerre.

EN. 311. 01 Shakespeare
Professor Miola
MWF 10-10:50

English 311, Shakespeare, primarily examines the comedies and romances of William Shakespeare—plays of love, marriage, suffering, and redemption. It is open to English majors and to all students who have completed English core requirements, especially those with an interest in theatre and literature, regardless of whether or not they have taken EN 310. Together we will read the plays with an eye to theatrical performance. We will see performances on stage; we will also see performance on film, in which medium there are many interesting and controversial adaptations readily available. Students will participate in dramatic readings of Shakespearean scenes, taking responsibility for rehearsal, props, costumes, setting, pace, gestures, delivery, and interpretation. There will be quizzes, a paper, an hour exam and a final. Readings will probably include The Comedy of Errors, Twelfth Night, Measure for Measure, As You Like It, The Tempest, and others.

EN 322.01: Seventeenth-Century Poetry and Prose
Professor Bryan Crockett
T Th 12:15-1:30

From the 1609 publication of Shakespeare's sonnets to the 1667 release of Milton's Paradise Lost, English poets produced a widely varied body of highly imaginative verse. Whether clever, startling, profound, or all three at once, the poems remain memorable and moving. The prose too shows just how supple the English language can be. While the syllabus will include works by over a dozen authors, all the readings will be short enough to invite careful re-reading; the goal is depth rather than breadth. Readings will likely include not only works by Shakespeare and Milton but also by Ben Jonson, John Donne, Robert Southwell, Richard Hooker, Thomas Browne, Richard Crashaw, Thomas Carew, George Herbert, Aemilia Lanyer, Richard Crashaw, Margaret Cavendish, Robert Herrick, and Gertrude More. Requirements will include two papers, a presentation, and a final exam.

EN 339.01: Jane Austen and Her World
Professor Abromaitis
T / TH 1:40-2:55

READINGS: “It is a truth universally acknowledged that a … [student] in possession of … [an open slot], must be in want of … [an Austen seminar].” And to appreciate how extraordinary Jane Austen is, students will read two popular women novelists who were her contemporaries but never, good writers though they were, her equal. The seminar begins with Fanny Burney’s Evelina and Ann Radcliffe’s The Mysteries of Udolpho that set the scene for Jane Austen’s literary career. We will visit a variety of homes and cities, meet characters who are vain, broken-hearted, stupid, insightful, gracious, mean-spirited, grasping, generous, witty, and eminently lovable. .
Austen follows Aristotle’s dictum that a work should have a beginning, a middle, and an end in Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion.

APPROACH: Students will do collaborative research on the art, architecture, entertainment, fashions, gardens, housing, parks, and politics of this latter part of the long eighteenth century and their relevance to the eight novels of the course. Classes will feature micro-essays to start conversation, analysis of the texts followed by a formal question posed by the reporter of the day

REQUIREMENTS: Each student will normally do two analytical presentations, several micro-essays, a mid–term examination, a term paper, and a final examination.

EN 354.01: “Romantic Revolutions: Poetry, Politics, and Culture”
Professor Mangiavellano
MWF 11-11:50

In this class, students will examine British Romantic poetry, politics, and culture through the lens of the revolutionary spirit cutting across the late eighteenth and early nineteenth century. We will study how Romantic poets, politicians, and social advocates tap into the energies and anxieties associated with revolutions large and small, including: the French Revolution and Reign of Terror, the Industrial Revolution and modernization, slavery and the abolitionist movement, female education and equality, and the passage of the Great Reform Bill. Class conversation will consistently rally around how the work of Romantic-era writers reflects, rewrites, and revises historical, cultural, and artistic revolutions of its time. How much does Wordsworth’s poetic revolution owe to the French Revolution? Is Blake’s connection between the verbal and visual in his illuminated printing an act of artistic rebellion? Reading assignments will include poetry and prose by Paine, Burke, Wollstonecraft, Wordsworth, Baillie, Blake, Coleridge, Edgeworth, Keats, Shelley, and Byron (among others). Course responsibilities will include vibrant and active class participation, regular reading quizzes, two short essays, a midterm, and a researched final essay.

EN 373.01: African American Literature: Black Lit Matters
Professor Guttman
MWF 1-1:50

Literature, race, and social power—how do they influence each other? In 1967, black residents of Newark, New Jersey, were moved to violence by police brutality, inadequate housing, unemployment, and poverty. During the unrest, the poet Leroi Jones was arrested on a concealed weapons charge. A poem he’d published in a small literary magazine was entered into evidence at his trial. Here’s an excerpt from the trial:

THE COURT: This [poem’s] diabolical prescription to commit murder and to steal and plunder and other similar evidences—
JONES: I’m being sentenced for the poem. Is that what you are saying?
THE COURT: —cause one to suspect that you were a participant in formulating a plot to ignite the spark on the night of July 13, 1967 to burn the City of Newark and that—
JONES: You mean you don’t like the poem, in other words.

The story of Jones’ conviction (for poetry!) highlights the power of African American literature. And the circumstances surrounding Jones’ persecution resonate powerfully today. This course traces the art and authority of the African American literary tradition from 19th century slave narratives through 20th century neo-slave narratives.

Some writers we’ll study: Douglass, Du Bois, Hurston, Hughes, Wright, Baldwin, Ellison, Sanchez, Baraka, Brooks, and Morrison. Some questions we’ll ask: How and why is black literature different? How does black literature tell truths under nearly impossible conditions? How have stereotypes of black sexuality informed and deformed black American literature? How have black writers resisted these stereotypes? Can literature be revolutionary? At a time when Black Lives Matter, how can black lit matter as well?

Requirements: Active engagement in class discussion, regular brief response writings, a group teaching project, midterm exam, final exam or final research essay.

EN382.01 Topics in Literature and Film: Adaptations: Film, Fiction and Authorship.
Professor Mark Osteen
TTR 10:50-12:05

“Adaptation” is a key term in biology, but it’s also essential when discussing the relations between books and movies. What can movies do that written texts cannot, and vice versa? Is fidelity the best measure of an adaptation’s value? We know that fiction influences film, but how has film also influenced fiction? This course adopts a three-pronged approach to answer these questions. First we examine film adaptations of classic novels, including Henry James’s Washington Square (The Heiress), Conrad’s Heart of Darkness (Apocalypse Now), Nabokov’s Lolita (both versions); then Susan Orlean’s non-fiction book The Orchid Thief, which was turned into Spike Jonze’s darkly hilarious and appropriately titled film Adaptation. Then we explore fiction that incorporates cinema, first through Nathanael West’s searing Hollywood satire The Day of the Locust (and the film version), and then by way of the cinematic novels of Don DeLillo (Running Dog; Point Omega), and the relevant films: Charles Chaplin’s The Great Dictator and Hitchcock’s Psycho. Finally, we study two artists who have successfully worked as both novelist and movie director: John Sayles, the dean of American independent filmmakers; and Paul Auster, whose provocative, enigmatic works have been both based on movies and become them.

Students will read several rarely taught books, watch twenty or so terrific movies, give an oral presentation, and write a scintillating research paper. And as time passes, students may even experience their own evolution and adaptation!

EN 346.01 Seminar in Literary Criticism and Theory: Critical Methodologies: Banned Books
T 6:30-9
Professor Ellis

We study seven frequently-banned books and several distinct methods of analyzing literature to explore the heart of literary studies: what literature means, why we read and write, and how ideas work in the world. The novels come from the American Library Association’s list of the 100 most frequently banned books; the remaining works were banned under the Comstock laws or other prohibitions: Aristophanes’ Lysistrata, excerpts of Chaucer, Shakespeare’s Twelfth Night, Voltaire’s Candide, Twain’s Adventures of Huckleberry Finn, Vonnegut’s Slaughterhouse-Five, L’Engle’s A Wrinkle in Time, and Walker’s The Color Purple. These and other works appear on the book “hit list” when readers have removed a book from a school or library; the reasons most often cited are that a writer uses offensive language, or presents violence, sexuality, religion or the occult in an objectionable manner.

People honor or challenge the same books for quite different reasons, but agree on one thing: reading and writing shape our ideas and actions; books are a powerful force for good or ill. To better understand the relationship of literature to everyday life, we investigate the disparate methods people use to read, examining book reviews, literary criticism, and the battles that have taken place in the schools, libraries, and other public places where the merits of these books are fiercely debated. We learn and practice several distinct methods of studying literature in the academy today, including reader response, cultural studies, new historicism, race and ethnicity studies, and gender studies. Analyzing these difficult but rewarding methods of study further illuminates the ways in which reading and writing help create our place in the world.

Active class discussions, weekly writing, two oral presentations, two exams, term paper. Service-learning option.

Students receive credit for either a pre-1800 or a post-1800 class.