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 (for teaching internships) or Dr. Guttman (all other fields). 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.
TTh 8-9:15 a.m.
Dr. C. N. Abromaitis
Students will read selected dramas by Shakespeare and Eliot; poetry (e.g., Donne, Hopkins, Eliot); short fiction (e.g., Hemingway, O’Connor, and Greene); and long fiction by C. S. Lewis and Dickens. The students will focus on basic critical, analytical, and communication skills that will serve them well in all their endeavors. Moreover, they will master the vocabulary of literary analysis as they read this literature in the light of Socratic, Aristotelian, and Thomistic assumptions about the human condition. Required are quizzes, a mid-term, four papers of increasing length and preparation, and a final.
Understanding Literature: The Literature Laboratory
EN101.10 TTh 9:25-10:40
EN101.12 TTh 1:40-2:55
Dr. Nicholas Miller
In this course we will conduct a series of literary experiments, working individually and collectively within a laboratory format, to discover how literary texts work. At the core of our investigations we will test a simple but potentially transformative hypothesis, namely that what matters most about literary texts is not the meanings they contain, but the ideas they generate; that novels, poems, plays and short stories are not coded messages to be deciphered, but mechanisms designed to produce ideas in their readers. Through our experiments in the “literature laboratory” we will gain essential insights about our responses to texts—why the struggle to find a work’s “deeper” meaning is fundamentally misguided, how to tell a strong reading from a weak one, and why developing the capacity to admire what we cannot at first understand is crucial to the work of interpretation. A rigorous introduction to the study, interpretation, and appreciation of literature, this course will also serve to develop analytical skills that are the basis of advanced work in many professional fields as well as in the academic disciplines of the humanities, sciences, and social sciences.
Understanding Literature: The Literature of War
EN 101.15 TTh 3:05-4:20
EN 101.16 4:30-5:45
Dr. Julius Lobo
This course asks a deceptively simple, but rather complex question: how do we understand literature and why does it matter? In the process of answering this query, we will read a wide variety of stories and poems with an eye to how writers and poets seek to express the depths of human experience. You will become fluent in literary terminology and learn to perform feats of sustained critical analysis. We will closely read the word, sentence, and line, in order to trace the gist and shape of the larger ideas. Through the prose and poetry on our syllabus, you will discover that literature speaks in many voices and gain an understanding of the different ways literature can matter to people.
Our unique focus for our course, the literature of war, will allow us to investigate how authors and poets attempted to frame war’s socially destructive and transformative effects through a variety of literary forms. Additionally, you will discover how different perspectives and attitudes towards conflict are voiced through literature: from soldiers at arms to civilians on the home front; politicians who rationalize conflict to the occupied peoples who speak of its realities; those who sing the glories of country to those who describe the violence done in the name of country. By the end of the course, you will gain an appreciation for literary texts, a working knowledge of their many forms and styles, and, perhaps most importantly, a clear grasp of why literature matters.
EN 201.01 Major Writers: English Literature
Why Satan Matters, or Sympathy for the Devil
Dr. Giuseppina Lobo
The character of Satan holds a prominent place in the western literary tradition, conjuring up fear and fascination within—and sometimes even sympathy from—readers past and present. In this course, we will chart the development of the satanic from its biblical roots up through 20th-century British literature. Along the way, we will consider how Satan transforms from God’s innocuous minion in the Book of Job to an eerie presence nearly indistinguishable from the human in William Golding’s Lord of the Flies. Satan will take on various roles over the course of the semester, playing the archfiend in Milton’s Paradise Lost, a rebellious hero for the Romantics, and the only escape from patriarchal society for Sylvia Townsend Warner’s Lolly Willowes. More importantly, with each revision of Satan’s character follows a revision of his relationship to human nature. How do literary representations of the satanic interrogate the limitations placed upon the human, whether divine, natural, or social? Why for the authors on our syllabus must the transcendence of those limitations be satanic, perilous, and yet for some characters too good to resist? How does each text’s adaptation of the satanic reveal both the destructive and productive potential of “evil”? Finally, as we will ask ourselves all semester, why does Satan matter?
Major Writers: English Literature
EN 201.02 TTh 1:40-2:55
Dr. Carol Abromaitis
Students will survey the literature of romantic, Victorian, and early twentieth-century English Literature. They will read poetry and novels as they reflect the values, concerns, assumptions, and arguments of the historical epoch in which Wordsworth, Coleridge, Shelley, Keats, Tennyson, Browning, Arnold, Hopkins, Stevenson, Wilde, Dickens, Yeats, Auden, and Eliot published. A major focus is on the conception of the honorable and good life. Required are quizzes, a mid-term, a paper, an oral report, and a final that will enable them to polish their writing and speaking skills.
Major Writers: English Literature
EN 201.03 TTh 1:40-2:55
EN 201.04 TTh 4:30-5:45
Dr. Julius Lobo
This course will introduce you to the wide world of adventure literature, from swashbuckling tales of piracy and desert islands of the 18th and 19th centuries, to espionage and crime stories of the 20th and 21st. While a good part of our study will be devoted to having fun with these narratives of high adventure, we will also delve deeper into the larger contexts that surround these works and consider how British writers used the idea of adventure to imagine their nation in relation to the world around them. Whether expressing imperialist attitudes through their depictions of “native” cultures, writing spy thrillers that reflect the geopolitical tensions and fears between world superpowers, imagining the utopia and freedom of an undiscovered world, or depicting the nightmare of civilizations clashing upon discovery, the authors on our syllabus meticulously fashion rip-roaring narratives that respond to political and cultural tensions underlying British culture.
Major Writers: American Literature
EN 203.05 MW 3-4:15
EN 203.06 MW 4:30-5:45
Dr. Brian Norman
This section of EN203 focuses on captivity, a surprisingly central theme in American literature. In fact, the captivity narrative is among the oldest genres in the American tradition as it shaped how colonists understood their relationship to indigenous groups. We will consider captivity in its many manifestations, such as confinement, slavery, incarceration, kidnapping, and psychological control. In doing so, we will explore how narratives of captivity help us examine issues of political power and inequality, racial difference and cross-cultural contact, gender and sexuality, and justice and civil rights. Why are we drawn to stories of captivity? Let’s figure it out together. Likely assignments include: two essays, frequent quizzes, final exam.
Major Writers: American Literature: Imagining the Nation
EN 203D.01 TTh 10:50-12:05
EN 203D.03 TTh 12:15-1:30
Dr. Sondra Guttman
This course explores the idea of America as an “imagined community,” one where ideals of unity and a distinctive national identity have often conflicted with the realities of expansion and diversity. The course examines what it has meant to be an American, proposing that we think about the nation not as a place, but as an idea that is under constant revision in the literature written about it. Questions we ask of each text include: How does this text imagine America as a nation? How do these imaginings change over time? How is or isn’t each text critical of dominant ways of imagining the nation? Writers to be studied include: Nathaniel Hawthorne, Herman Melville, Frederick Douglass, Harriet Jacobs, Mark Twain, Zitkala Sa, Abraham Cahan, Charlotte Perkins Gilman, Kate Chopin, W.E.B. Du Bois, Langston Hughes, William Faulkner, Zora Neale Hurston, Susan Glaspell, T.S. Eliot, and Tennessee Williams.
This course fulfills the core diversity requirement. Requirements include a group presentation, an 8-10pp. research essay, and midterm and final exams.
Major Writers: American Literature
EN 203D.02 TTh 12:15-1:30
EN 203D.04 TTh 3:05 - 04:20
Dr. June Ellis
Focusing on the ways writers develop a language and a literary form that is distinctively American, my EN203D.02 and .04 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: Shakespeare
EN 205.01 TTh 12:15- 01:30
EN 205.02 TTh 1:40-2:55
Dr. 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 help those whose experience has been less enlightening to learn 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.
Major Writers: Greek Drama
Dr. David Jacobson
A study of selected plays in English translation by Aeschylus, Sophocles, Euripides, and others, with an emphasis on the literature's background, value, and influence. Specific readings vary with the instructor.
EN 300.01 English Literary History
Dr. Thomas Scheye
This course traces out the main line in English literary history, the tradition handed down from Chaucer to Spenser to Shakespeare to Milton, and beyond to those who came after. In addition to placing those 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 the reading assignments are substantial, there will be frequent quizzes and tests, but no formal term paper.
EN 307.01 Seminar: Medieval Passion
Dr. Kathy Forni
The subtitle for this course should be “love hurts” because as we’ll find, passion involves both desire and suffering. Indeed, secular and spiritual passion have a strange symbiosis to modern readers; both sexual love and religious ardor share a number characteristics including the pleasure found in the pain of passion. We’ll begin the class by tracing the development of so-called courtly love (famously described by C.S. Lewis as “Ovid misunderstood”), focusing on some archetypal medieval lovers. We’ll then move on to other kinds of affection (besides the adulterous kind) as found in a variety of genres (romance, courtesy book, allegory, letters, autobiography, fabliaux).
Texts include: Plato, Symposium; Ovid, Art of Love; Andreas Capellanus, The Art of Courtly Love; The Romance of the Rose (selections); Tristan and Iseult; Chretien de Troyes, The Knight of the Cart (Lancelot); Sir Gawain and the Green Knight; Boccaccio, The Decameron (selections); Chaucer, The Wife of Bath's Prologue and Tale; The Clerk’s Tale; The Letters of Abelard and Heloise; Trial of Joan of Arc (selections),The Book of Margery Kempe (selections).
Lots of talking, weekly quizzes, shorter analytical papers, longer research paper, short reports.
EN 311.01 Shakespeare II
Dr. Bryan Crockett
Since the foremost writer in the English language—perhaps in any language—hardly needs an introduction, this description is short: we’ll read eight or nine of Shakespeare’s best comedies and romances as well as a few of his poems. Situating these works in their cultural contexts will help us appreciate their depth and beauty. Students will read the plays, discuss them, write about them, and even do a bit of acting. The course’s primary aim is for everyone in the class to enjoy Shakespeare even more at the end of the term than at the beginning. Note: English 310, Shakespeare I, is not a prerequisite for EN 311, Shakespeare II.
EN 328.01 Seminar in Literature and Catholicism: Early Modern Catholic Poetry
Dr. Robert Miola
We shall explore Non-Catholic and Catholic poetry and prose from this fecund, word-drunk, maddening, horrifying, profound and inspiring age. Why did so many gladly kill and die for their religious beliefs? What circumstances led to the creation of so much glorious literature by figures like Thomas More, William Shakespeare, John Donne, George Herbert, Robert Southwell, and Richard Crashaw? What was the Catholic Church like then and are there lessons for us today? What was really at stake in the disputes about images, the Eucharist, the papacy, predestination, and the Virgin Mary? This last topic, the Virgin Mary, will be the subject of a conference of internationally renowned speakers (March 20-22), sponsored by Johns Hopkins University and Loyola University in Maryland, with special events for members of the seminar (including a tour of rare books, a concert at the Basilica, receptions, informal discussions). Students will look at primary sources and modern editions, explore art and iconography, and integrate their research into class discussion. The usual exams, reports, and papers, undertaken with an unusual sense of fun, community inquiry, and panache.
Seminar in Literary Criticism and Theory: Banned Books
Dr. June 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.
EN 362.01 Victorian Poetry: Saints, Sinners, and Madmen
Dr. Gayla McGlamery
Poetry in the Victorian period is a very rich stew. Its greatest narratives are peopled with criminals and madmen; its enduring meditative works address questions of identity, faith and doubt, social justice, and love; and among the works of the period can be found some of the most lyrical lines in English. During the spring semester, we will study the topics that engaged Victorian imaginations and look at the poetic forms Victorian poets chose—or invented—to explore them. We will spend most of our time studying selected works of Tennyson, Arnold, Robert Browning, and Hopkins, but we will also read poems by Elizabeth Browning, Christina Rossetti, Meredith, Hardy and others less well-known. In addition, we will read and discuss portions of several Victorian statements regarding the nature and purposes of poetry, and—because of the lively interaction between poets and painters in the Victorian period—we will look at selected reproductions of Victorian art in conjunction with the appropriate poems.
Requirements: Midterm exam, final exam, one analytical research paper of 10-12 pages and a series of weekly responses.
EN 364.01 Literature and the Catholic Imagination: Chesterton, Lewis, and Tolkien
Dr. C. N. Abromaitis
One of the most fruitful literary friendships of the twentieth century was that of J. R. R. Tolkien and C. S. Lewis, both of whom were greatly influenced by G. K. Chesterton. All three confronted the result of the deracination of modern man: the tyranny of solipsism and relativism. Their novels and stories are imbued with the sacramental imagination: the vision of nature as a bridge between humans and God. In their rejections of materialism and Gnosticism these authors create worlds that force their readers to see what they have merely been looking at, to listen to what they have merely been hearing. We will read Tolkien’s The Hobbit, The Fellowship of the Ring, The Two Towers, and The Return of the King; Lewis’s Out of the Silent Planet, Perelandra, That Hideous Strength, and Till We Have Faces; and Chesterton’s The Man Who Was Thursday and a selection of Father Brown short stories. Requirements include a mid-term, a final, a research presentation, prepared questions distributed to the class, and a term paper.
EN 371.01 At Home in the World: Place and Displacement in Contemporary Literature
Dr. Melissa Girard
This course features novels, poetry, and creative non-fiction published since 1945, in which writers struggle in various ways to find a home in the contemporary world. We will begin in the U.S., in the immediate aftermath of World War 2 and the Korean War, as writers attempt to retreat from violent global struggles into the new American suburbs. We will read a few defining works from mid-century America, including Sloan Wilson’s The Man In the Gray Flannel Suit (1955), poetry by Sylvia Plath, Anne Sexton, and Robert Lowell, and Kurt Vonnegut’s Slaughterhouse-Five (1969). We will then follow these themes of place and displacement—the metaphysical homelessness brought on by a century of war—around the world and into the present in works including W.G. Sebald’s The Emigrants (1992), Zadie Smith’s White Teeth (2000), Jeffrey Eugenides’ Middlesex (2002), Claudia Rankine’s Don’t Let Me Be Lonely (2004), Natasha Trethewey’s Native Guard (2006), and Katherine Boo’s Behind the Beautiful Forevers (2012).
For your final project, I will ask you to research a work of literature published in the last year or two in order to begin formulating your own view of the literature of the present. Other likely assignments will include two exams, a mid-semester paper, and a class presentation.
EN 379D.01 Gender in American Literature: Dead Women Talking
Dr. Brian Norman
As a general rule, dead women are pretty quiet. The same goes for dead men. But in American literature, the dead talk more often than we might expect. Talking dead women appear in works by such classic American writers as Edgar Allan Poe, Emily Dickinson, Henry James, and William Faulkner, as well as in more recent work by Toni Morrison, Tony Kushner, and Alice Walker, among many others. Now, it is almost old hat when dead women talk in contemporary literature and popular culture, from the bestselling novel The Lovely Bones to the hit television dramas Desperate Housewives and Drop Dead Diva. What are we to make of all this? Together, let’s try to figure it out. To aid us, we will consult relevant feminist, literary, and political theory. Likely assignments include: two essays, a theory report, and a final.
EN 386.01 Seminar in Literature and Film: Telling Children’s Stories
Dr. Nicholas Miller
NOTE: This course includes an optional service-learning opportunity (see description below).
This seminar will explore the theme of the child as witness to and teller of his or her own story. Observing a variety of child narrators in fiction, non-fiction, and film, we will seek to understand how children use stories and story-telling to navigate experiences of family, community, and the passage to adulthood. Child narrators are often supremely (and hilariously) unreliable; can the child’s point of view also be at times uniquely reliable? How do fiction and imaginative fantasy enable children to come to terms with experiences of trauma, fear, helplessness, guilt, or ignorance? Do child narrators gain credibility or authority by assuming particular roles—the precocious savant, the innocent, the villain, the trickster, the prisoner—and what might it ultimately mean to become the hero of one’s own story? Texts to be studied will likely include Mark Twain’s Huckleberry Finn, short fiction by James Joyce and Alice Munroe, Mark Haddon’s The Curious Incident of the Dog in the Nighttime, Yann Martel’s Life of Pi, Emma Donoghue’s Room, Lynda Barry’s Cruddy, and Muriel Barbery’s The Elegance of the Hedgehog. Probable films will include Logan Smalley’s Darius Goes West, Sean Fine and Andrea Nix Fine’s Inocente, Benh Zeitlin’s Beasts of the Southern Wild, and Rolf de Heer’s The Quiet Room, as well as past and current work by students at Wide Angle Youth Media (see below).
Service-Learning Option: This course will include an exciting service-learning option for up to six students. Our community partner, Wide Angle Youth Media, is an educational and outreach organization dedicated to teaching Baltimore youth how to tell their own stories and the stories of their neighborhoods and communities through video. Students who opt for the service-learning path will support Wide Angle’s teachers and students in the Baltimore Speaks Out! program, assisting once a week in their after-school courses by helping to develop lesson plans, facilitating the teaching of narrative techniques such as story-boarding and scripting, and providing support in the areas of video production and editing. Experience in media production is helpful but not required. Interested students should contact Professor Miller for more information prior to registering for the course.
Additional Information from Wide Angle:
The Baltimore Speaks Out! Program (BSO) operates in the all and spring, in partnership with the Enoch Pratt Free Library and provides youth ages 10-15 with free media education right in their own community.
This 12-week after school program teaches young people ideo production, critical thinking, public speaking, team- building, and leadership skills. Through regular attendance, students are even eligible to earn service
earning hours for their participation. By the end of the semester, students in the BSO program will have created their own video about youth and community concerns that will be screened locally
and around the world! Recent videos produced by BSOP youth have addressed bullying in school, gang activity, education reform, and taking care of the environment. (You can watch them at wideanglemedia.org.)
We are seeking committed and motivated Loyola students to assist in the classroom. This is a great opportunity to gain experience teaching youth media to young people ages 10-15. Teaching esponsibilities will include assisting in the classroom once a week either on Mondays and Wednesdays at the Herring Run Library or Patterson Park Public Charter School, or Tuesdays and Thursdays at the Reisterstown Road branch.
Tuesday, February 4th – Tuesday, April 8th
Wednesday, January 22nd – Monday, March 31st
Monday, January 6th– Monday, April 7th
EN 399.01 Seminar in Exploring the Modern Epic: James Joyce’s Ulysses
Dr. Mark Osteen
Ulysses has few competitors for the title of the greatest novel in the English language. Based on Homer’s Odyssey, it has a reputation for difficulty, but readers’ efforts are richly rewarded by its many delights. Packed with allusions, offering a panoply of styles and subjects, it is also firmly anchored in the world of early twentieth-century Dublin and in the lives of its three major characters. Ulysses is densely detailed, marvelously humane, outrageously sexy, and riotously funny. And it all takes place in one day! Studying this novel will hone students’ reading skills and supply the tools necessary to grapple with any other literary text.
But we won’t plunge right in. Weeks one and two will refresh our memories of The Odyssey and remind us of the epic tradition. Then we’ll turn to Joyce’s earlier works: Dubliners (1914), which brings us into Joyce’s community, and A Portrait of the Artist as a Young Man (1916), which introduces the brilliant but arrogant Stephen Dedalus, one of the protagonists of Ulysses. We’ll devote the remaining weeks to an intensive study of Ulysses, episode by brilliant episode. Students will complete projects based on single chapters and deliver multi-media presentations to share their findings with their peers; these projects will culminate in original, seminar-length research papers. Students will contribute weekly to Moodle forums and create a class wiki that provides links to songs, documents, characters and sources mentioned in the novel. By the end of the semester, the class will have constructed its own research guide. Mastering this grand and gorgeous book is an intellectual odyssey. Come on board!
EN 410.01 Senior Honors Thesis
Dr. Mark Osteen
By invitation only