Loyola University Maryland

Department of English

Course Descriptions

English majors and minors should consult the 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 Spring 2018

Internships

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. Lukacs. 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.

100-LEVEL COURSES

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: The Body in Writing: Disability Literature
EN 101D.09, EN 101D.10
MWF 10:00-10:50, MWF 12:00-12:50
Professor Giuseppina Iacono Lobo

In this course, we will examine how writers imagine and represent disability through a wide variety of poetry, short fiction, and novels.  The literary canon as we know it abounds with disabled characters, from Sophocles’s Oedipus, William Shakespeare’s Richard III, Herman Melville’s Captain Ahab, Charlotte Brontë’s Rochester, to William Faulkner’s Benjy. Despite their ubiquity, these figures tend to be marginalized in literature, often portrayed as either victims, villains, inspirations, or monsters. As we will explore during the first half of the semester, these stereotypes limit the role and our perception of disability in writing, and even tend to project those limitations beyond the text.

After the midterm, we will turn to literature that strives to represent disability not as a marginalizing force, but rather a fundamental part of the human experience. As such, poets and writers like Jim Ferris, Petra Kuppers, Kenny Fries, and Stephen Kuusisto write through—and, at times, even celebrate—disability. Canes, crutches, and wheelchair wheels inspire unique poetic beats, the experience of blindness is reproduced through line breaks, and transliterated ASL revolutionizes storytelling. These innovations thrust disability from the margins of literature to the forefront, demanding that readers see beyond tired tropes and metaphors.

As we consider the still changing role of disability in writing, we will also focus on the formal aspects of poetry, short fiction, and the novel, and work to master the language of literary analysis. Whether extolling “crip” culture, or reproducing limiting stereotypes, or expressing loss (of feeling, of limbs, of mobility), or presenting characters who reveal, revel in, or even try to escape from difference, the authors on our syllabus all imagine the disabled body in writing: bodies that map the full spectrum of the human experience.

Understanding Literature, “The Stranger: Literature and the Ethics of Hospitality”

EN 101.13, EN 101.14

MWF 1:00-1:50, MWF 2:00-2:50

Professor Stephen Park

 

This course is designed as an introduction to literature through stories of migration, exile, and refuge. The story of the stranger—and how to treat the stranger—is a very old one in literature and it provokes questions that are central to the humanities. What are my moral obligations to someone in need? What are the limits of those obligations? How do I reconcile the differences between my own life experience and that of “the stranger”? These questions take on increasing urgency in the 21st century with the array of refugee crises happening around the globe. Our course themes overlap with the Ignatian Solidarity Network’s current “Campaign for Hospitality,” which challenges us to embrace the stranger, in part, by sharing in their stories.

Literature serves as an important tool for understanding the experiences of others. And so, EN 101 will develop your command of the formal aspects of poetry, short fiction and the novel. We will focus on careful literary analysis as a skill for both talking about and writing about literature. This will be a writing-intensive course, and you will be expected to deploy the terms of literary analysis from the class in order to develop insightful arguments about these texts and about the larger themes of the course. As we read an array of fiction and poetry, it will be our goal not only to analyze these texts but also to consider how each one can serve as an occasion for moral inquiry and as a chance to consider our obligation to migrants, refugees, and all those who are from somewhere else. This class has a Service Learning option.

Understanding Literature: Time Travel and Social Justice
EN 101.15
TTH 4:30-5:45
Professor Melissa Girard

To change the world for the better, we first need to envision a better world. We can’t build what we can’t imagine. In this section of EN 101, we will examine a wide array of visionary and fantastical literature in search of models for social justice. We will begin by reading a selection of key works in speculative fiction by writers including H.G. Wells, Edward Page Mitchell, Ray Bradbury, Ursula Le Guin, Margaret Atwood, and Octavia Butler. All of these readings focus, in some way, on time travel: characters moving forward, backward, or around in time, sometimes freely, often by force. At mid-semester, we will shift our attention to poems that similarly attempt to disrupt the linear movement of time. We will examine a range of poems, extending back to Shakespeare and through to the present, to deepen our philosophical understanding of how time shapes individual and collective identities. What can time travel teach us about our political past, present, and future?

As you will soon learn, the study of literature is built around a specific practice known as “close reading.” This method requires immersive attention: it is a careful, patient, and focused form of reading that will help you see the subtlety and nuance of literary works. To hone these skills, you will complete 2 analytical papers, 2 exams, and regular short writing assignments and activities. Through our intensive investigations, you can expect to become better readers, writers, and critical thinkers. You may also find new ways to enjoy the art of literature.

200-LEVEL COURSES

Major Writers: English Literature: Bad Men in British Literature
EN 201.01
MWF 9:00-9:50
Professor Erin Wilson

Upon meeting Lord Byron in 1812, Lady Caroline Lamb famously declared him “mad, bad, and dangerous to know.” This sentiment did not stop her from having an affair with him, subsequently stalking him after he ended their relationship, and eventually writing a book about him. In this course, we will ask ourselves why we find ourselves fascinated by wickedness, to the point of admiration, sympathy, and even love. From Byron’s exploits to Breaking Bad’s Walter White, we often find ourselves captivated by tales of bad men committing wicked and often unspeakable acts, sometimes hoping for their redemption and, other times, being drawn in further when they get worse. We will see many examples of “bad men” across this semester, some with good intentions, some charming, and some monstrous. Beginning with Lord Byron, the original bad man of English Literature, we will move through England’s Romantic, Victorian, and Modern eras, ending with the contemporary fiction of John Fowles. Required assignments include quizzes, short papers, a blog assignment, a longer paper, and two exams. 

Major Writers: English Literature--The Naked Eye: Victorian and Modern Ways of Seeing
EN 201.02, 201.05
TTH 12:15-1:30, TTH 1:40-2:55
Professor Nick Miller

This course will explore the continuities and discontinuities of Victorian and Modern literature in relation to two watershed events in visual culture: the invention of the photograph in 1826 and the invention of the cinema in 1895. With the advent of still- and moving-picture cameras, the human act of seeing was transformed into a mechanical process, no longer grounded entirely in the biological instrument of human perception, the “naked eye.” Taking this as our point of departure, we will investigate Victorian and Modern “ways of seeing,” the ideas about perception that drew on both science and art to give rise to optical toys and instruments, ultimately transforming the visible world by transforming vision itself. Our primary focus will be on sight-related tropes and themes—observation, perspective, illusion, insight, blindness, visibility and invisibility, the public and private dynamics of seeing and being seen—as they emerge in the short fiction and novels of these adjacent literary periods. Authors to be studied will likely include Lewis Carroll, H. G. Wells, Robert Louis Stevenson, Arthur Conan Doyle, Oscar Wilde, James Joyce, Virginia Woolf, Jeanette Winterson, and Art Spiegelman, among others. We will also look at some early photographs and pioneering cinematic works by the Lumiere brothers, Georges Melies, Dziga Vertov, Emile Cohl, and Winsor McCay. In addition to reading and viewing assignments, requirements will include brief weekly response posts, two short papers, one longer research paper, frequent quizzes, a midterm and a final examination.

Major Writers: English Literature – Creating the Modern
EN 201.04
TTH 1:40-2:55
Professor Gayla McGlamery

From Mary Shelley’s Frankenstein (1818) to Lloyd Jones’s Mr. Pip (2007), our readings in this course will chart the sweeping changes of the late-eighteenth and nineteenth centuries that gave birth to modernity. The rise of science and technology, the emergence of individual rights and the democratization of power, challenges to religious faith, and the development of new ways of public expression—all will be the focus of study and debate as we explore the reactions of novelists, poets, and essayists to their changing times—and issues we still grapple with today.

Students will turn in weekly responses and take a midterm and a final, give three very short oral presentations, and write at least one (and probably two) documented, analytical essays. The class will combine lecture and discussion and may include the viewing of at least one film.

Major Writers: American Literature--Imagining the Nation
EN 203D.01
MW 3:00-4:15
Professor 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, Frederick Douglass, Harriet Jacobs, 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--Diversity and Solidarity
EN 203D.02 & 03
MW 3:00-4:15, MW 4:30-5:45
Professor June Ellis

Focusing on the ways writers develop a language and a literary form that is distinctively American, this 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 Jacqueline Woodson’s Brown Girl Dreaming create innovative literary forms that depict the ways our ideas about race may affect both black people and white people.  Though the books are written more than 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
MW 3:00-4:15
Professor Bryan Crockett


In this course we’ll read, talk about, and write about 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 and poems 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. The reading list will likely include Henry IV, Part 1, Hamlet, Othello, The Merchant of Venice, Measure for Measure, Much Ado About Nothing, and The Tempest. Requirements will include short written responses.

Major Writers: Shakespeare
EN 205.02
TTH 9:25-10:40
Professor Robert Miola

 
In this course we will read a selection of Shakespeare’s plays, histories, comedies, tragedies, and romances. These are plays of love, romance, delight, suffering, politics, and death—all the many aspects of the human experience. Together we will approach the plays with an eye to theatrical performance, to the many possibilities for interpretation and realization. We will see performances on film and, if possible, in the theater. Drop your fears and prejudices, forget your previous negative experiences, and come to wonder. Students will experience first-hand and directly the power of drama. Readings will probably include A Midsummer Night’s Dream, The Comedy of Errors, Measure for Measure, Richard III, Hamlet, Macbeth, The Tempest, and others.


300 and 400-LEVEL COURSES

English Literary History until 1800
EN 300.01
MW 3:00-4:15
Professor Thomas Scheye

This course traces out the main line in English literature, 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.  Because this course is content-oriented, and because the reading assignments are substantial, there will be frequent tests but no formal paper.

Shakespeare
EN 310.01
TTH 12:15-1:30
Professor Robert Miola

This course primarily examines the histories and tragedies of William Shakespeare—plays of passion, power, and suffering.  It is open to all students who have an interest in theatre and literature.  We will see performances on stage, if we can. We shall see performances on film, including some interesting and controversial international adaptations. All students will participate in dramatic readings of Shakespearean scenes to experience personally Shakespeare's art and world. Readings will probably include Richard II, Henry IV Part 1, Henry V, Richard III, Romeo and Juliet, Hamlet, King Lear, and Macbeth.

Seminar: Women in 18th Century Novels
EN 337.01
TTH 1:40-2:55
Professor Carol Abromaitis

READINGS:  The novels of the course:
Daniel Defoe - Moll Flanders
Henry Fielding - Joseph Andrews and Tom Jones
Oliver Goldsmith - The Vicar of Wakefield
Tobias Smollett - Humphry Clinker

APPROACH: The seminar members will read the novels on several levels: techniques, reflection of contemporary practices and events, and how each reflects the status of women in the 18th century.  The last subject will include societal position, crime, poverty, laws, marriage, inheritance, and perils.

REQUIREMENTS (tentatively): [1] 5 reports on each novel in terms of the approaches, e.g., research on the significant events that the novels incorporate or facts about the listed influences on women. [2] A term paper that evolves from one of the reports. [3] A mid-term and a final exam.

Seminar: Extraordinary Bodies: Early Modern Disability Lit
EN 339.01
MWF 2:00pm-2:50pm
Dr. Giuseppina Iacono Lobo

 
In John Milton’s closet drama Samson Agonistes (1671), the imprisoned title character mourns the loss of his sight more even than the loss of his freedom: “O dark, dark, dark, amid the blaze of noon, / Irrecoverably dark, total Eclipse / Without all hope of day!” One cannot help but hear, even if just a whisper, the blind poet himself in this complaint: Milton’s vexed relationship with his disability, after all, is one that he meditated on in both his prose and poetry, and with both his fictional characters and self-fashionings.
 
Disability Studies and Early Modern Studies do not often converge, which is odd considering the number of disabled characters that people Shakespeare’s and Jonson’s plays, Spenser’s and Milton’s poetry, and even the works of Aphra Behn. In this course, we will read some well-known—like Shakespeare’s Richard III, Spenser’s The Faerie Queene, and Milton’s Samson—and some not-so-well-known— like Behn’s The Dumb Virgin, Jonson’s Volpone, and Kyd’s The Spanish Tragedy—works through the lens of disability. Along the way, we will ask: what might this lens help us to learn about early modern subjectivities and views on human variation? What relationships with embodied difference are fostered in each of these texts for characters and for readers? Where in these texts do we see disability stereotypes and fears of difference that still survive today.

Modernist Poetry
EN 372.01
TTH 3:05-4:20
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. Students with an interest in the history and politics of modern art 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 include selections of poetry and prose by Ezra Pound, T.S. Eliot, Gertrude Stein, William Butler Yeats, Robert Frost, Edna St. Vincent Millay, Mina Loy, Marianne Moore, Langston Hughes, Jean Toomer, Claude McKay, and many others, along with books of poetry by H.D. and William Carlos Williams.

Modern Drama: The Agony, the Ecstasy, and the Flat-out Absurd
EN 374.01
MW 4:30-5:45
Professor Bryan Crockett

While plays are written mainly for the stage, the best ones work well also on the page. In this course we'll examine the literary as well as the theatrical dimensions of some of the best plays of the last seventy years. We'll begin by reading works by three mid-twentieth-century "greats": Eugene O'Neill, Arthur Miller, and Tennessee Williams. Next we'll dip into absurdist drama with Samuel Beckett and Edward Albee. Then we'll read works by the best contemporary dramatists, chief among them the most evocative playwright alive: Tom Stoppard. We'll read three of Stoppard's plays, including The Real Thing, which will be performed during the semester by the Evergreen Players. We'll also read Lorraine Hansberry's and Suzan-Lori Parks's powerful plays on race relations. We'll get glimpses of the trials of the academic life in plays by David Mamet and Margaret Edson. Finally, we'll discuss plays at once funny and troubling by Paula Vogel and Lynn Nottage. We'll read the plays, talk about them, and write about them, and perhaps do a bit of acting. Not only seasoned readers and actors but also the inexperienced and the shy are welcome to join the class, where all will find a warm, appreciative audience.

Seminar in Contemporary Literature: Twentieth-First Century Literature & Time
EN 387
T 6:30-9:00 pm
Professor June Ellis

Explore can’t-put-it-down readings that focus on time: time past and future, dysoptic and unitive, projected, remembered, imagined, rewritten, claimed and denied, time bent by the reader and by quantum physics, fantastic time. Literary forms investigated include a novel published serially on a blog, a “found” diary, a graphic novel, a video game quest, a Broadway musical, and a feminist manifesto in epistolary form. Likely readings include Chimamanda Ngozi Adichie Dear Ijeawele, Alison Bechdel Fun Home, Ernest Cline Ready Player One, Mohsin Hamid “Of Windows and Doors,” Lin-Manuel Miranda and Jeremy McCarter Hamilton: The Revolution, Ruth Ozeki A Tale for the Time Being, Andy Weir The Martian, Jacqueline Woodson Brown Girl Dreaming. Lively class discussions, term paper, two exams, service option. For those who select the service option, opportunity to respectfully serve, and to observe the ways concepts and experiences of time function differently for youth, for different populations in the same city, and/or for young refugees.

Seminar: Woman Reading, Woman Writing
EN 389.01
M 4:30-7:00 pm
Professor Jean Lee Cole

This seminar will produce a volume to be included in the Aperio Series of Humane Texts, published by Loyola’s very own Apprentice House Press. The subject of our volume will be the Woman’s Literary Club of Baltimore, a group of educated, mostly elite women who met every week for nine months each year between 1890-1920. At their meetings, they discussed literature, history, travel, art—anything considered the purview of the highly literate—and also workshopped their own writings, many of which found their way into print. Seminar members will carry out the longstanding but unfulfilled wish of the Club: to publish a volume of the group’s writings.

We’ll place these women’s activities within their historical moment, when gender roles were under rapid and drastic transformation in the United States. We’ll place their works within literary history, too: the 1890-1920 period witnessed the emergence of mass-market literature, the beginnings of modernist experiments in prose and poetry, and the professionalization of authorship. And we’ll study the Club itself—reading their detailed minutes, studying Club records, and transcribing documents held in the WLCB papers held at the Maryland Historical Society. Class members will locate Club members’ writings in libraries and in periodicals and edit them for publication; contribute biographical profiles, interpretive essays, and textual annotations to Woman Reading, Woman Writing: The Woman’s Literary Club of Baltimore, 1890-1920; and build a website that will function as a companion to the book, including images, documents, and information about the WLCB.

Literature of the US-Mexico Border
EN 391
MWF 11:00-11:50
Professor Stephen Park

In 1987, Gloria Anzaldúa claimed that the US-Mexico border was an open wound, a description that seems just as fitting 30 years later. When the larger US population is made aware of the border it is usually through stories of migration, violence, economic hardship, and intercultural conflict—all of which can seem far removed from the rest of the country. However, by examining more closely the wound that Anzaldúa describes, by considering its history and its literature, it becomes clear that this seemingly peripheral region is central to the United States and to the longer story of US Literature.

This course will explore the literature and culture of the borderland, from the violent creation of the US-Mexico border in 1848 to the present day. We will read works by María Ruíz de Burton, Américo Paredes, Tomás Rivera, Ana Castillo, Sandra Cisneros, and Cormac McCarthy, among others. We will also consider how the border has been represented in film, television, and music. This course counts toward the Minor in Latin American and Latino Studies.