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.
ENGLISH DEPARTMENT COURSE OFFERINGS
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. Forni . 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.
Understanding Literature: Stories We See (Messina)
TTh 9:25-10-:40 with enrichment hour T 10:50-11:40
Professor Nicholas Miller
This seminar will explore verbal and visual forms of storytelling. In “Stories We See,” we will encounter literary authors who create powerful imaginative effects using only words, study photographs and paintings that condense complex narratives into a single image, and consider the ways picture books, graphic narratives, and films combine pictures and text to entertain, persuade, educate and transform. In the course of our investigations, students will develop close reading, critical thinking, and analytical writing skills. We will also share selected materials and activities with the members of our Messina partner course, Professor Schlapbach’s introduction to digital photography, PT270.
Understanding Literature - First Encounters
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 of a text and written argumentation. Through a wide sampling of poetry and short prose, 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 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 and short prose, students will cultivate the creative and analytic habits that will produce clear, complex, and coherent argumentation.
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. This theme opens up larger conversations about cultural difference and multiculturalism, intersections between nationality and identity, and facets of social justice. In this class, we’ll 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 is particularly appropriate for a writing-intensive course like EN 101 because it will remind us throughout the semester of the dynamic between an author and an audience—an important “first encounter” for all writers to keep in mind.
Professor Carol Abromaitis
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 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 three papers.
Understanding Literature - Literature of the Holocaust
EN 101.10, .14, .17
TTh 9:25-10:40, TTh 1:40-2:55, TTh 3:05-4:20
Professor Julius Lobo
This course will introduce you to literary representations of the Holocaust. Our readings will be wide-ranging and encompass different genres of literature as we investigate how various writers approached and attempted to come to terms with genocide, social upheaval, and unthinkable personal and cultural loss. Additionally, you will become familiar with literary terminology and techniques that will help you grapple with these texts and perform sustained feats of critical analysis. Requirements will include three papers, readings quizzes, a midterm and a final exam, and robust class participation.
Understanding Literature: The American Ethos
EN 101.13, .15
TTh 12:15-1:30, TTh 1:40-2:55
Professor Lou Hinkel
Ethos refers to the characteristic spirit of a culture, era, or people as manifested in its beliefs and aspirations. Questions about the nature of the American “character” in this broader sense permeate the national dialogue. Everyone seems to have some idea of what being an American means; and even though most individual definitions tend to constellate around a robust core of shared concerns, they oftentimes differ widely and confrontationally. In this course we’ll put poetic and narrative treatments of the subject into kaleidoscopic conversation with essays, film, comics, and maybe even a little TV. Better citizenship through better reading and writing, and hopefully a deeper and more nuanced understanding of those enduring, if contested, American values.
Understanding Literature: Word and Art: Literature and the Artistic Vision
Professor Gayla McGlamery
“Word and Art” explores some of the vibrant intersections between literature and art—literature inspired by art or the lives of artists, as well as visual art inspired by stories and poems. Issues regarding aesthetics, creativity, and craft will inevitably arise in our discussions as we talk about what it means to create an artistic vision and to envision a world from a unique imaginative perspective. The course fulfills the EN101 core requirement and therefore will include close reading, critical thinking, and analytical writing.
Major Writers: English Literature - Monstrous Literature
EN 201.01, 201.02
MWF 10-10:50, MWF 1-1:50
Professor Giuseppina Iacono Lobo
This course will introduce you to all varieties of literary monsters, ghouls, demons, and things that go bump in the night. Along the way, we will tear through a frightening cornucopia of monstrosity, from the overtly terrifying Grendel to the liminal blood thirst of Dracula to the moral experimentation of Dr. Jekyll. We will also consider carefully the etymology of the word monster: monsters point out, they exhibit, and they instruct. What did the authors on our syllabus attempt to show about the British societies of which their monsters were a part? Moreover, how did these representations of the monstrous help to define what it meant to be human? How do those definitions continue to shift as we consider 20th- and 21st-century literary monsters?
Likely authors include Mary Shelley, R.L. Stevenson, Bram Stoker, H.G. Wells, and Neil Gaiman. Likely assignments include a close reading paper, a research paper, reading quizzes, and a midterm and final.
Major Writers: English Literature: Growing Up Modern.
Professor Mark Osteen.
Childhood and adolescence are modern inventions. Building upon that fact, this course explores how the literature of the past two centuries has depicted childhood, adolescence and early adulthood. Among the questions we ask in the course are: 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 and the racially or sexually atypical) 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 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, 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 deliver an oral presentation. Students will also write two brief reflection 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.
Major Writers: English Literature
Professor Carol Abromaitis
Major Writers: American Literature
EN 203.01D, EN 203.02D
MW 3-4:15, MW 4:30-5:45
Professor June Ellis
Focusing on the ways writers develop a language and a literary form that is distinctively American, my EN203 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
Major Writers: American Literature – Detective Fiction
Professor Julius Lobo
This course will introduce you to the dark, gritty, and high-octane world of detective fiction. While a good part of our study will be devoted to having fun with these fast-paced narratives, we will also delve deeper into the larger contexts that surround these works and consider how American writers used the idea of the detective to understand the relation between mainstream culture and the criminal underworld of their time. Authors may include Edgar Allan Poe, Anna Katharine Green, Dashiell Hammet, Raymond Chandler, and Chester Himes, amongst others.
Major Writers: Shakespeare
Professor Tom Scheye
“He doth bestride the narrow world/ Like a colossus.” The way Cassius describes Julius Caesar can apply as well to his creator: because Shakespeare’s achievement towers over all other authors’ in our language; and because of the nature of that achievement. Shakespeare does more than write plays; he creates a world—one where the characters come alive for us and the language becomes part of our patrimony, our common inheritance as English speakers. This course focuses on Shakespeare’s finest tragedies and comedies, where that world finds it finest expression.
Major Writers: Shakespeare
Professor Bryan Crockett
In this course we’ll read, talk about, write about, and perform passages from the plays of the most beloved author in the history of English literature. While millions upon millions of people have discovered to their delight that Shakespeare's words have wings, others are intimidated by the difficulty of negotiating those words. This course is designed not only to challenge those who already enjoy Shakespeare but also to teach those whose experience has been less enlightening that the plays can be immensely enjoyable. No matter whether you fall into the former category, the latter, or somewhere in between, a concentrated, sustained effort on your part will yield rich rewards. The syllabus will include a broad sampling of the varied products of Shakespeare's astounding imagination: sonnets, histories, tragedies, comedies, and romances. We will read the plays as blueprints for live performances in the various cultural contexts of the times in which they were written, with particular attention to the subtleties of the playwright's language. Requirements will include short written responses to each day’s readings, a research paper, and mid-term as well as final exams. Whatever your level of experience with Shakespeare’s poems and plays, you’ll find this broad sampling of his works enlightening as well as enjoyable.
Major Writers: Classical Mythology
EN 211.01/CL 211/01
Professor David Jacobson
Seminar Medieval Heroism: War, Chivalry, Crusade
Professor Kathy Forni
Crying is good. So is killing non-Christians. Running away in battle is bad. So is refusing a woman’s sexual advances. But the best is the road trip (or in medieval terms, the armed pilgrimage or quest) with the guys. In this course we’ll explore representations of masculine heroism found in the Middle Ages in a variety of genres (heroic epic, romance, biography, chronicle), both historical and fictional. Some cultural assumptions about masculinity, like bravery, will seem familiar, while other expectations, such as a household and children being the ultimate sign of virility, or violence being the ultimate pleasure that one can renounce, will perhaps exercise our assumptions about what constitutes natural male behavior.
All texts are in English translation. Weekly reading quizzes.
Texts will probably include: Beowulf, The Dream of the Rood, Einhard, Life of Charlemagne, Fulcher of Chartres, The First Crusade, Duby, William Marshal: The Flower of Chivalry, The Song of Roland, Chretien de Troyes, Arthurian Romances, the Bayeux Tapestry, Sir Gawain and the Green Knight, an Old Norse saga, Malory, Le Morte d’Arthur, The Geste of Robin Hood
Professor Bryan Crockett
What could be better than to immerse ourselves in the rich, evocative language of Shakespeare’s most moving plays? This course focuses on some of the best histories and tragedies of England's, probably the world's, most beloved playwright. We will read the plays as blueprints for live performances in the various cultural contexts of the times in which they were written, with particular attention to the nuances of Shakespeare's language. Readings will most likely include Hamlet, Macbeth, Othello, King Lear, Henry IV, Part I, Henry V, and Richard III, as well as Marlowe's Doctor Faustus, which will be performed at Loyola along with Hamlet by the American Shakespeare Center's "Method in Madness" fall tour. Requirements will include short written responses to each day’s readings, a research paper, and mid-term as well as final exams.
Professor Giuseppina Iacono Lobo
Commenting on the blindness that finally consumed him in the 1650s, Milton proclaims that his sight had been “overplied / In liberty’s defence, my noble task.” Milton’s preoccupation with liberty—whether liberty of conscience, liberty from tyranny, domestic liberty, or even authorial liberty—permeates his corpus. Throughout the semester, we will closely examine Milton’s poetry and prose in the context of this “noble task” and as the poet-polemicist’s response to the civil wars, regicide, and revolution that engulfed the middle of the 17th-century. How does Milton’s conception and treatment of “liberty” change from his optimistic Areopagitica to his magnum opus, Paradise Lost? How are we to read Satan’s calls for liberty in Milton’s great epic? What constitutes just liberty, and when does liberty degenerate into “license”? How can “liberty” and “obedience” coexist?
We will conclude the semester with Philip Pullman’s provocative rewriting of Paradise Lost, the critically acclaimed His Dark Materials trilogy. Pullman’s adaptation will deepen our understanding of the original epic by interrogating Milton’s own treatment of God, human nature, and the fall. Along the way, we will consider how and why a work like Paradise Lost still resonates with readers in the 21st-century.
Seminar in 18th Century Literature: Jane Austen and Her Contemporaries
Professor Carol Abromaitis
READINGS: The seminar begins with Fanny Burney’s Evelina and Ann Radcliffe’s The Mysteries of Udolpho. Then we read Austen’s Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. 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.
REPORT: Students will present a report to the seminar on their particular area of research.
PAPER: The paper will arise out of the student’s research on the world of these novels and the depiction of that world in one or two of the novels read in the course.
EXAMINATIONS: There will be a mid-term and a final exam on the readings of the course.
The Romantic Movement - Sympathy and the Sublime in British Romanticism
Professor Dan Mangiavellano
In this seminar, we will study theories of sympathy and the sublime in order to contextualize British Romantic relationships with society and nature. We will first pull from Adam Smith’s The Theory of Moral Sentiments to consider how moral philosophy and “fellow-feeling” influence Romantic notions of passion, sensibility, imagination, and sympathetic self-projection. Who and what are sympathetic objects for Romantic poets? What are the ethics of Romantic sympathy and is “fellow-feeling” a form of social justice? In addition to grappling with moral philosophy and Romantic relations, we’ll study multiple theories of the sublime—including Kant and Burke—to consider Romantic connections between nature, feeling, and expression. Is there a particular school of the sublime emphasized by the Romantics? If the sublime is generally considered a sensation beyond the realm of language, how does Romantic poetry get around this problem? We will work together to construct oral and written arguments about what intersections between sympathy and the sublime tell us about the Romantic imagination, creativity, inspiration, literary production, and feeling. Our survey approach to the poetry, prose, and drama of the period will include works by Wordsworth, Coleridge, Joanna Baillie, Percy Shelley, Keats, Thomas De Quincey, Mary Shelley, and John Clare (to name a few).
AMERICAN LITERATURE UNTIL THE FIRST WORLD WAR
EN 366.01 DO NOT REGISTER if you have already taken EN 203.
Professor Paul Lukacs
"In the four quarters of the globe," sneered the British critic Sydney Smith in 1820, "[no one] reads an American book." A century later, following the Allied victory in the First World War, a victory made possible in part because the United States had entered what had been an exclusively European conflict in order to "save the world for democracy," it seemed as though everyone was reading American books. Most of those books were being written then, but some had been written earlier--back when, as the British novelist, D. H. Lawrence observed, books about pioneers and Indians, outcasts and rebels, whaling adventures and trips down the Mississippi were thought to be just "children's stories." That's us English being afraid of them, Lawrence complained. "There is a new voice in the old American classics," he wrote. "The world has declined to hear it, and has babbled about children's stories. Why? -- Out of fear. The world fears a new experience more than it fears anything . . . There is a new feeling in the old American books . . . a different feeling . . . It is the shifting away from the old psyche to something new, a displacement. And dis-placements hurt."
EN 366 is a course in that displacement, the effort of American writers to articulate a new vision concerning a new place in a new voice, no matter that writers and readers elsewhere tended either to ignore or to dismiss them. Because the course is a survey, we shall mostly read pieces of their work instead of the full works--parts of Franklin's Autobiography or Thoreau's Walden or Stowe's Uncle Tom's Cabin or Whitman's Leaves of Grass rather than the whole books. We shall, however, read two books in their entirety. These are the two that over the years keep coming up when critics and scholars are asked to identify the great American book, Herman Melville's Moby-Dick and Mark Twain's Adventures of Huckleberry Finn. Like so much else we shall study, they may appear at first to be simple children's stories, but we shall see that they are much, much more. That's because, to echo Lawrence, they cut so close to the heart that they hurt.
Requirements will include Moodle posts and/ or quizzes, two papers, and two tests.
Modern British and American Poetry
Professor Melissa Girard
The “Lost Generation,” Malcolm Cowley said, “belonged to a period of transition from values already fixed to values that had to be created.” This new generation of writers, artists, and activists, who came of age during World War I, published in little magazines like transition, Broom (to make a clean sweep of it), This Quarter (existing purely in the present), and Secession. “They were seceding from the old,” Cowley said, “and they groped their way toward another scheme of life, as yet undefined.”
For modernist writers and artists, the “new poetry” became synonymous with a new world. Their aesthetic innovations—poetic experiments such as Vorticism, Futurism, Imagism, Impersonality, Blues, and Jazz—helped them to discover new ways of thinking and feeling in the modern world. But this is not the only story modernism has to tell. In the early twentieth century, vers libre or “free verse” also became the preferred vehicle for pursuing new political freedoms. Alongside modernism’s new aesthetics, poetry also helped to launch new liberatory political campaigns—for racial, gender, class, and sexual equality—which changed the course of the twentieth century.
This course in Modern British and American poetry will provide you with an opportunity to explore the aesthetic and political experiments of modernism. Although our readings will focus primarily on poetry, modernism impacted all of the arts. Much of the work we will examine experiments with language, as well as painting, photography, dance, and music. 2014 is also the 100-year anniversary of the start of World War I, “the war to end all wars.” Students with an interest in the history of modern art or the politics and legacy of WWI are strongly encouraged to join us. This course does not require any previous background or expertise in modern poetry—only a desire and willingness to explore these difficult and important works together.
Our readings will begin on the battlefields of World War I, where a new generation of soldier-poets struggled to make sense of modernity. From there, we will travel to the expatriate communities of London, Dublin, and New York, where a new generation were helping to foment a revolution in both poetry and politics. We will read poetry and prose by Ezra Pound, T.S. Eliot, Gertrude Stein, H.D., William Butler Yeats, William Carlos Williams, Robert Frost, Edna St. Vincent Millay, Mina Loy, Marianne Moore, Langston Hughes, Jean Toomer, Claude McKay, and many others. Likely assignments will include a collaborative class presentation, a mid-semester paper on reading modernist poetry, and a final research project that explores the history and definition of modernism through the pages of modernist magazines. I hope you will join us!
History of Narrative Cinema
W 6:30-9 PM
Professor Nicholas Miller
An exploration of the origins and development of the cinema, emphasizing its emergence as the dominant story-telling medium of the twentieth century and highlighting Baltimore as a local case study in cinema history. The course will adopt an investigative approach analogous to the cinematographic technique of “deep-focus” in which objects very near the camera as well as those far away are in focus at the same time. In the “background” we will seek to understand the broad landscape of film history, surveying the technology of the moving image from sixteenth-century flipbooks to contemporary digital media, and considering such topics as the emergence of narrative genres, the influence of the classical Hollywood style, the transition to sound, and major formal movements such as Russian Formalism, German Expressionism, and the French New Wave. In the “foreground,” we will explore the local history of cinema in Baltimore, home to some of the most historically significant film venues in the United States. Students will have an opportunity to conduct primary research on one of several historic cinemas in the city, including the recently renovated Senator Theater in Belvedere Square, which may host several of our scheduled course screenings (plans currently in development; details TBA).
Course viewing and reading requirements will include two to three films per week plus a comprehensive historical text and relevant theory/criticism articles; other requirements will include frequent viewing/reading responses, one formal research paper, quizzes, tests and a final.
NOTE: This course satisfies the foundation course requirement for Film Studies minors
Seminar in Literature and Film: 19th Century Novels into Film
Professor Gayla McGlamery
“The only reason for the existence of a novel is that it does attempt to represent life.”
Henry James, “The Art of Fiction” (1888)
“Photography is truth. The cinema is truth twenty-four times per second.”
Jean-Luc Goddard, Lettres Francaises, 31 January 1963
“We all know that Art is not truth. Art is a lie that makes us realize truth, at least the truth that is given us to understand.”
Pablo Picasso in Dore Ashton, Picasso on Art (1972)
For this course, we will read and analyze a number of nineteenth-century novels, approaching each from a different critical perspective. We will also view one or more film adaptations of each novel and analyze aspects of these films and their relation to the novels using current film theory and appropriate film terminology. Texts and film adaptations may include Pride and Prejudice and/or Emma and/or Persuasion; Jane Eyre and/or Wuthering Heights; Vanity Fair; Far from the Madding Crowd and/or The Mayor of Casterbridge; and Great Expectations and/or Bleak House. Students will also read at least one film script.
Other requirements: One seminar report, a midterm, a final, and a documented analytical essay of 12-15 pp.
Senior Honors Seminar: Humor Studies
Professor June Ellis
Critical Methodologies: Humor Studies
[by invitation only; counts toward the major as a seminar and as a post-1800 EN course]
This course proposes that humor serves as one of the best ways to understand literature and culture. From Archilochus to Rushdie, parody and the playful are productive: they illuminate serious forms as well as generating their own discourse and conventions. Writers use humor to reveal the local and the universal, to speak truth in multiple voices, to refashion art and expectation.
The class analyzes specific cultures and histories of laughter and humor. We investigate and extend the accepted models of humor studies (superiority theory, incongruity theory, and release/relief theory). We propose that all humor studies (and study of all literatures that contain humor) benefit from realizing the ways laughter and the comic make visible the individual and collective, the sacred and profane. Laughter, which is at once subversive and conservative, makes visible the total social situation and kindles the creative and the numinous.
We will likely consider full-length works by writers including Bill Bryson, Elizabeth Gilbert, Epeli Hau'ofa, Maira Kalman, Jeff Kinney, Tyler Perry, Amy Sedaris, David Sedaris, Voltaire, along with essays and shorter works by writers including Plato, Hobbes, Kant, Kierkegaard, Mark Twain, Woody Allen, Zora Neale Hurston, Descartes, Freud, Spencer, John Kasaipwalova, and Victor Turner.
Active class discussions, weekly writing, two oral presentations, two exams, term paper. Service-learning option.