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 Fall 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
Professor Daniel R. 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. 06, EN 101.09, EN 101.12
MWF 10-10:50, MWF 12-12:50, MWF 2-2:50
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).
Major Writers: English Literature -- Why Satan Matters, or Sympathy for the Devil
EN 201.01 and 201.02
MWF 10:00-10:50; MWF 12:00-12:50
Professor Giuseppina Iacono 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 English Writers: Bad Men in British Literature
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
We will read epics and romances starting with the 20th-century masterpiece, J. R. R. Tolkien’s The Lord of the Rings. Next from the Middle Ages we will read Heaney’s translation of Beowulf in modern English. The Renaissance literature will include excerpts from Spenser’s Fairie Queene and five books of Milton’s Paradise Lost.
Requirements include factual quizzes on the literature and literary terminology, micro essays on assigned reading, a mid-term examination, a final exam, a research
paper, and class participation.
*Prerequisite – normally EN101.
*Analysis of how authors create secondary worlds.
*Discussion of what these works reveal about their times.
Major Writers: English Literature – Creating the Modern
EN 201.05 and 201.06
T-Th 1:40-2:55; 3:05-4:20
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 modes 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 take weekly reading quizzes and three period exams, give an oral presentation in partnership with a classmate, and write at least one documented, analytical essay.
The class will combine lecture and discussion and may require the viewing of at least one film.
Major Writers: English- Monstrous Fictions
Professor Benjamin Jude Wright
"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 20th and 21st century examples of the monstrous. 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.
Major Writers: American Literature—Imagining the Nation
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, 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 -- American Dreams and Realities
Professor Paul Lukacs
When the poet Langston Hughes lamented that America was not "America to me," he was referring less to a physical place than to an idea or ideal, what sometimes is called the American dream. That dream comes in different versions, reflecting different visions, and many of the great writers of American literature have responded to those visions in their work. This course examines America's dreams through studying some of the major works of American literature. Authors include Benjamin Franklin, Ralph Waldo Emerson, Walt Whitman, Herman Melville, Mark Twain, Robert Penn Warren, and more.
Professor Thomas Scheye
“He doth bestride the narrow world/ Like a colossus.” The way Cassius describes Julius Caesar applies to his creator as well: 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 history plays where that world is first defined and his mature tragedies where it finds it finest expression.
17th Century Transatlantic Women Writers
Professor Giuseppina Iacono Lobo
In “The Prologue” to The Tenth Muse Lately Sprung Up in America (1650), Anne Bradstreet proclaims:
I am obnoxious to each carping tongue
Who says my hand a needle better fits,
A poet’s pen all scorn I should thus wrong,
For such despite they cast on female wits.
The first English woman and the first New Englander to publish a book of original poems, Bradstreet challenged society’s expectations of such “female wits.” This course will examine a wide array of women’s writing in 17th-century England and America, and will include genres ranging from closet drama to diary writing to one of the earliest works of science fiction. As you’ll find, many of the women on our syllabus were pioneers in the literary world, inventing new genres as in the case of Mary Rowlandson’s captivity narrative, The Sovereignty and Goodness of God (1682), and appropriating the techniques of their predecessors in new and titillating ways, like Sarah Kemble Knight’s heroic tale of her journey from Boston to New York in The Journal of Madam Knight (1704).
Throughout the semester, we will consider how women construct their identities in and through various forms of manuscript and print. Margaret Cavendish famously deemed her manuscripts “paper bodies” that she would commit to the flames once they were in print. To borrow Cavendish’s language, what might these texts embody for the seventeenth-century woman writer? Why do some women claim and others deny authorial agency? How does social class influence genre, publication, and self-representation?
To what extent are women identified with or confined to a “private” or “domestic” sphere, and how might their writing challenge such boundaries? More importantly, we will examine not only the contributions that 17th-century women writers made to literary history but also how they helped to shape that history.
Eighteenth-Century Seminar: Humor and Satire in the Long Eighteenth Century
Readers and viewers of the poems, novels, and dramas of Dryden, Pope, Swift, Fielding, Smollett, Goldsmith, and Sheridan laugh as they watch the stupid, pretentious, affected, and self-important play their roles in the authors’ comic worlds. Irony, satire, farce, word-play, mistaken identity, disguise, and lampoons are some of the devices that these authors use to delight their audience.
Requirements are micro essays, a major paper, a mid-term exam, a final exam, and class participation.
*Prerequisite – normally EN101, one EN200-level core course.
*Focus on the nature of humor and satire.
*Discussion of how the long-18th-century writers exploit their times.
The Romantic Movement
Professor Daniel R. Mangiavellano
In this course, we will survey the poets, novelists, and essayists of the British Romantic period. We will trace the emergence of British Romanticism from Wordsworth and Coleridge’s Lyrical Ballads in 1798 to the passage of the Reform Bill in 1834 and the ascension of Queen Victoria in 1837. Reading and writing assignments will consistently challenge students to make thoughtful connections between the literature of the period and the changing cultural, industrial, and political landscape of the early nineteenth century. A particularly exciting element of this class will be in tracing the many ways in which Romantic-era theories of creativity, originality, and genius contribute to twenty-first century tastes and habits.
The Novel in America
Professor Jean Lee Cole
Seducers of women? Corruptors of youth? Destroyers of culture? It may surprise you that novels have not always been considered literary, or even considered literature at all. In the United States, the novel has acted on American values, thought, and even politics to a degree that may be difficult to imagine today. We will begin our history of the novel in America with works published immediately after the Revolutionary War, and end with the latest novelistic trend: the graphic novel. Throughout, we will examine how developments in the novel as a genre have corresponded with social, cultural, and political change in the United States. Requirements: weekly forum postings, a final research project, and midterm and final exams.
Modernist Poetry and World War I
Professor Melissa Girard
“All the poets can do today is to warn.” –Wilfred Owen
Poets served on the front lines of World War I, and the devastation of war turned ordinary men and women into poets. Honor the 100th Anniversary of the “War to End All Wars” (1914-1918) by studying the remarkable poems that this generation left behind. Our readings will begin on the battlefields of World War I, where soldier-poets struggled to make sense of the chaos that surrounded them. We will read first-hand battlefield accounts by Wilfred Owen, Siegfried Sassoon, Isaac Rosenberg, and others, to understand the role poetry played in this unprecedented conflict. Why did people turn to poetry during World War I? What can poetry teach us about war that other forms of writing and art cannot?
From there, we will travel to the expatriate communities of London, Dublin, and New York, where a new generation of modernist writers were helping to foment a revolution in both poetry and politics. We will read poetry and prose by T.S. Eliot, Ezra Pound, Gertrude Stein, William Butler Yeats, Amy Lowell, Langston Hughes, Jean Toomer, Claude McKay, and others, to investigate the relationship between World War I and modernist poetry. What did the war mean to those on the sidelines of this conflict? How did poets and artists help to reform the world in the aftermath of war?
This course in Modern British and American poetry will provide you with an opportunity to explore both the literature and culture of the World War I era. Although our readings will focus primarily on poetry, this course does not require any previous background or expertise in poetry—only a desire and willingness to explore these difficult and important works together. Students with an interest in the history and contemporary legacy of WWI are strongly encouraged to join us. Likely assignments will include a collaborative class presentation, a mid-semester exam, and a final research paper that explores WWI through its poetry. I hope you will join us!
Topics in Literature and Film – Nineteenth-Century English Novels into Film
“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
For this course, we will read and analyze several nineteenth-century novels, approaching each from a variety of critical perspectives. We will also view one or more film adaptations of each novel and analyze aspects of these films and their relation to the novels in the context of current film adaptation theory. Texts and film adaptations may include Pride and Prejudice and/or Emma; Jane Eyre and/or Wuthering Heights; Vanity Fair; Far from the Madding Crowd and/or The Mayor of Casterbridge [adaptation The Claim]; and Great Expectations and/or David Copperfield and/or Bleak House.
Other requirements: Weekly responses, panel presentation, a midterm, a final, and a documented analytical essay of 10-12 pp.
Seminar in Modern Literature: James Joyce
Professor Nicholas Miller
"We are still learning to be Joyce’s contemporaries,” wrote Richard Ellmann at the beginning of his biography of James Joyce. This course will explore the often surprising ways in which this statement continues to be true 75 years after the great Irish writer’s death. Though Joyce lived and wrote in a historical, cultural, political, and literary landscape profoundly different from our own, his works continue to set a high bar for qualities that remain current, not to mention urgently relevant, in our own lives—among them a capacity for joyous and generous humor, an appetite for experimental daring, and a deep, capacious humanity.
In the course of the semester, we will read everything Joyce wrote, with the exception of Finnegans Wake (which, time permitting, may make an appearance in some end-of-term excerpts). Well over half of the course will be devoted to reading and enjoying a single work, Joyce’s greatest and most challenging novel, Ulysses. As our explorations will demonstrate, the best way to understand Joyce is to enjoy him; students will therefore be strongly encouraged to prioritize their own genuine curiosity and terms of personal engagement over “academic” mastery. Seminar participants can expect challenging (but highly pleasurable) readings, lively discussions, one major oral presentation, digital annotation/journaling assignments, and a seminar paper.
England Swings: The Literature, Film, and Culture of England in the 1960s
Professor Mark Osteen
By invitation only
“You say you want a revolution; well, you know, we all want to change the world.” So sang John Lennon in 1968. But in fact the revolution started back in the 1950s with John Osborne’s play Look Back in Anger. That play launched the Angry Young Man movement in British theater, and in so doing cracked open the door to the 1960s and sex, drugs, and rock ‘n’ roll. The Free Cinema movement, the British film New Wave, and the British Invasion in music soon made England (and America) rock. We’ll begin with Osborne’s play and the working-class writers and filmmakers who followed him, including Alan Sillitoe (Saturday Night and Sunday Morning), Lindsay Anderson (This Sporting life, if. . . ., O Lucky Man!), Tony Richardson (The Loneliness of the Long Distance Runner) and John Schlesinger (Billy Liar, A Kind of Loving). We’ll investigate the consequences of the sexual revolution in works by women (A Taste of Honey, The L-Shaped Room), and explore the parallels and differences between the 1960s and the 1860s (Fowles’s The French Lieutenant’s Woman and its film adaptation). We’ll howl at the antic comedies of Richard Lester (A Hard Day’s Night, The Knack), tremble at the provocative plays and films of Joseph Losey and Harold Pinter, and raise our eyebrows at the extraordinary experimental fictions of B. S. Johnson. Finally, we’ll examine the backlash against youth culture in works such as A Clockwork Orange and the poems of Philip Larkin. Add to this incendiary mix the earthshaking music of the Beatles, the Rolling Stones, the Kinks, the Who, the Yardbirds and other groups, and, friends, you’ve got yourself a revolution. You know it’s gonna be all right!
Students will write a research paper, deliver an oral presentation, and share some of the most vibrant literature, film and music of the past century. And, of course, students in this class will also plan, prepare, cook and sing for the 2016 English Department feast.