| English majors and minors should consult pre-requisites and major requirements as well as the 8-year course cycle before registering for any course. English majors or minors are encouraged to complete the advising template, available in Word or .PDF format though these links, before meeting with their academic advisors. Those who choose to register on line might consider filling our the document in Word, saving it to file, and sending it by e-mail to their advisors as part of the "permit to register" request. Click here to download the template in Word format (can be saved, e-mailed, or printed). Click here to download the template in .PDF format (can be printed).
En 098, Internship in Private School English
David Dougherty, TBA
This course places selected students in middle and secondary schools to learn about teaching English in the private school setting. Interns spend ten hours per week in a private school, working closely with a mentor who is an experienced teacher, under the supervision of the chair of the school’s English department. Interns are responsible for keeping journals, for meeting biweekly with the internship coordinator, and for producing a final reflection on the internship. Prerequisites: interns must be seniors, with at least six upper-division English courses completed and a Q.P.A of at least 3.0. Written permission of internship coordinator for registration. En 099, Internships in English
David Dougherty, TBA Qualified students, ordinarily seniors, can enrich their liberal arts education by taking advantage of available English department internships in areas including publishing, public relations, and advertising. Internships in law offices, judicial chambers and governmental agencies are also available to students interested in the law. Internships give the student an opportunity for intensive, hands-on experience in business, philanthropy, law, journalism, and other possible career options. An intern works closely with a faculty member to design a course during which the student learns skills and approaches specific to one enterprise, whether that be the court system, news reporting, public relations, publishing, or philanthropic organizations. Interns have the unique opportunity to apply their skills as English majors in areas in which they may choose to pursue their careers. These are unpaid positions. En 099 may be taken only once for degree credit, and does not count toward the English major or minor. Prerequisites: Interns must be seniors; in special circumstances, junior in their second semester may intern with specific permission from the instructor.
EN 201.01 & .02, Major Writers: English Literature
Erin Goss MWF 09:00-09:50 & 11:00-11:50 This section of the course will read literature that enters into conversation with science, technology, and exploration. We will read novels, poetry, plays, and some scientific treatises in order to consider what response literature offers to the science of its day. Most of our readings will come from 18th- and 19th-century England, though the end of the semester will focus on how those earlier texts have defined more contemporary 20th-century science fiction in its engagement with the technological innovations that have marked the beginning of even the 21st century. EN 201.03 & .05, Major Writers: English Literature
Mark Osteen TTH 9:25-10:40 & 01:40-02:55 What does it mean to grow up modern? What trials do children and adolescents endure on their way to adulthood? How do adolescents respond to authority? How do unusual people (such as the disabled and the racially or sexually atypical) challenge or confirm our definitions of normality? We’ll examine these and other questions by reading selected texts (mostly novels and short stories) from the nineteenth and twentieth centuries. In some cases we will pair texts to show the contrasts and similarities between sensibilities, styles, and subjects of the two eras. Readings will probably include William Wordsworth’s poems, Mary Shelley’s Frankenstein, one Victorian novel (Jane Eyre, Great Expectations or a novel by Thomas Hardy), short stories by Joseph Conrad, James Joyce, and/or Katherine Mansfield, and a selection of recent novels that may include Jeanette Winterson’s Oranges Are Not the Only Fruit, Andrew Miller’s Ingenious Pain, Mark Haddon’s The Curious Incident of the Dog in the Night-Time and David Mitchell’s Black Swan Green. We will also view and analyze film versions of selected texts. Each student will write a research paper and give an oral presentation. Students will also write three brief papers in which they reflect on their own identities, disabilities and confrontations with authority. Of course, students will also have the privilege of completing (and passing) a midterm and a comprehensive final exam. EN 201.04, Major Writers: English Literature
Carol Abromaitis TTH 01:40-02:55 READINGS: Beowulf, Sir Gawain and the Green Knight, The Fairie Queene, Paradise Lost (Books I, II, IX, XI, XII), The Lord of the Rings. APPROACH: We will read these works closely for content, their historical context, and their genres. The emphasis of the course is on the epic and the romance as it manifests itself in this literature. PAPER: Students will write a critical and analytical research paper on the works. TESTS: There will be quizzes on each of the works (on Milton and Tolkien there will be several quizzes). There will be both a mid term and a final examination. EN 203.01, Major Writers: American Literature
June Ellis MW 3:00-4:15 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 Charles Johnson’s Dreamer create innovative literary forms that depict the way slavery affects both black people and white people. Though the books are written nearly 100 years apart, and though one writer is black and the other white, the works share common ground in experimenting with ways to tell stories that promote freedom and justice. The course offers a strong foundation in both time-honored American fiction, drama, and poetry, and contemporary multi-ethnic classics. EN 203.02 & .04, Major Writers: American Literature
Paul Lukacs TTH 12:15-01:30 & 03:05-04:20 This section focuses on the theme of identity—national, communal and personal—as a defining issue in American culture. Writers studied include Franklin, Emerson, Whitman, Melville, Twain, Wharton, Fitzgerald, Hemingway and Warren. Requirements include weekly quizzes, two tests and one or two papers. EN 203.03, Major Writers: American Literature
Seemee Ali TTH 1:40-2:55 This course will probe what is distinctly American about American writers. We begin with Washington Irving, perhaps the most famous early American literary figure. Irving is noteworthy for weaving together European and indigenous mythology in his work – thereby creating a fiction with roots in the European tradition that, still, is not “of” Europe. We will then turn to Ralph Waldo Emerson, who through his essays, attempts to will into existence a distinct, American literature. We will next study Herman Melville’ s Moby Dick as both a response to the Emersonian vision and a departure from it. And, finally, we will observe how Melville’s complicated understanding of American cultural and racial identity in Moby Dick resonates in the twentieth-century writings of William Faulkner, Claude McKay, Langston Hughes, and Ralph Ellison. Please note: Students registering for this course are strongly urged to read Moby Dick before the semester begins. Required texts: 1. Selected Writings Of Ralph Waldo Emerson. (Signet Classics ISBN 978-0451529077); 2. Moby-Dick. Herman Melville. (Modern Library ISBN 978-0679783275 ); 3. Light in August. William Faulkner (Vintage International ISBN 978-0679732266). Other required readings will be distributed in class and made available on-line. EN 205.01 & .31, Major Writers: Shakespeare
Bryan Crockett TTH 12:15-01:30 & 04:30-05:45 This course surveys the plays and a few of the poems of the greatest writer of all time (sorry, Homer; sorry, Dante: it’s true). In addition to some sonnets, we’ll read nine of Shakespeare’s best plays. Likely candidates are Richard III, Henry IV, Part 1, A Midsummer Night's Dream, The Merchant of Venice, Measure for Measure, Hamlet, Othello, King Lear, and The Tempest. Note: Students majoring in English, or seriously contemplating becoming majors, should take a different 200-level course, followed by EN 310 (Shakespeare I) or EN 311 (Shakespeare II). EN 205.32, Major Writers: Shakespeare
Louis Hinkel MW 6:30-7:45 In this introduction to Shakespeare, geared for the non-English major, we will focus primarily on the comedies and tragedies of our language's foremost playwright. In addition to close, detailed readings of the plays, we will entertain the question of "realization" (performance) both on stage and film. We'll also read the screenplay for the film Shakespeare in Love, and use it as the basis for a more nuanced consideration of Shakespeare's cultural context and the special challenges of the English renaissance stage. In the second half of the semester, we'll explore two plays (yet to be determined) in much greater detail, including modified acting workshops in which students will stage, as a kind of glorified dramatic reading, selected scenes from the plays.
The required research paper will support the activities of these workshops. Expect routine reading quizzes and frequent film screenings. EN 218.01, Major Writers: The Golden Age of Rome
Thomas McCreight MWF 10:00-10:50 A study of selected works in translation by some of Rome's greatest writers, with special emphasis on Vergil, Ovid, and Livy. The course may be organized chronologically or thematically. Same course as CL218.
EN 300.01, English Literary History before 1800
Robert Miola TTH 12:15-1:30 The purpose of this course is to provide exposure to the main English literary accomplishments of the thousand-year period that begins with Beowulf and ends with Boswell. We will concentrate on major figures—Chaucer, Spenser, Shakespeare, Donne, Milton, Swift and Johnson—but read selectively in other writers as well, particularly the rich but systematically ignored Catholic contributors to English literature. Students will not only confront exciting literature but they will also develop an appreciation for the sweep of English literary history. There will be regular presentations, writing, examinations, and extra events (films, plays, etc.) as possible. EN 301.01, Chaucer
Kathleen Forni TTH 01:40-2:55 We'll study some of Chaucer's greatest hits (in Middle English), including The Parliament of Birds and selections from The Canterbury Tales. We'll supplement our reading with David Carlson's, Chaucer's Jobs, a revisionary account of Chaucer's biography and poetics. And we'll close with a couple of recent examples of popular Chaucer: Peter Ackroyd's The Clerkenwell Tales, and John Guare's Chaucer in Rome. Requirements: presentation, midterm, final, longer paper, book review. EN 311.31, Shakespeare II
Thomas Scheye MW 04:30-05:45 In springtime, the only pretty ringtime, When birds do sing, hey ding a ding, ding Sweet lovers love the spring The subject is love, every kind you can think of: the master theme of Shakespeare’s comedies and poems. EN 317.01, Seminar in Renaissance Literature: Shakespeare Rivals
Bryan Crockett TTH 1:40-2:55 Shakespeare’s brilliance can easily blind us to the constellation of other bright lights who illuminated the late Tudor and early Stuart stage. This seminar will explore the remarkably evocative plays by some of Shakespeare’s friends and rivals. Focusing mainly (but not exclusively) on some of the period’s great tragedies, we’ll likely read Thomas Kyd’s The Spanish Tragedy, Christopher Marlowe’s Tamburlaine the Great, Part 1 and Doctor Faustus, John Marston’s The Malcontent, Ben Jonson’s Volpone and Bartholomew Fair, Thomas Middleton’s The Revenger’s Tragedy, Middleton and William Rowley’s The Changeling, and John Webster’s The White Devil and The Duchess of Malfi. Requirements will include two presentations, midterm and final exams, and a research paper. EN 337.01, Seminar in 18th Century Literature: Jane Austen and her World
Carol Abromaitis TTH 09:25-10:40 READINGS: Using a seminar approach, the class will read Jane Austen ’s Sense and Sensibility, Pride and Prejudice, Emma, Mansfield Park, Persuasion, and Northanger Abbey; Fanny Burney’s Evelina and excerpts from Anne Radcliffe’s The Mysteries of Udolpho.
REPORTS: Each student will present one seminar report on a specific novel’s critical reception and subsequent critical analyses and a second one on the student’s analysis of structural and / or thematic aspects of that novel. PAPER: The paper will arise out of the student’s analysis of the structural and / or thematic aspect of the novel. REQUIREMENT: Because of the nature of a seminar, the novels must be read on the first day they are due. AT THIS POINT: There are no quizzes planned for this course. EXAMINATIONS: There will be a mid-term and a final exam on the readings of the course. EN 347.01, Seminar in Romantic Literature: Excess and the Monstrous
Erin Goss MW 01:00-02:15 This course will examine the excessive and monstrous bodies that loom in 18th- and 19th-century British literature. Some of these bodies are literally excessive and monstrous, while some are more figuratively so. Mary Shelley's monster in Frankenstein, for example, lurks along two feet taller than most normal men, while Matthew Lewis' antihero in The Monk is defined by his excessive and even monstrous desire. We will consider these monstrous figures as literary efforts to understand cultural, scientific, and philosophical phenomena that risk being inexplicable. What fears and anxieties do authors of this period use monsters to show? What kinds of excess is this literature aiming to explain and contain? We will read works in various genres: Gothic novels, which reveled in stories of the supernatural and psychologically inexplicable; Romantic poetry and closet drama, which often show the effort of the thinking subject to understand an incomprehensible world; treatises in social philosophy and aesthetics, which make visible some of the fears the literature is working to exile. For a list, please contact Dr. Goss at egoss@loyola.edu. Requirements: active class participation; short weekly writing assignments posted electronically; research presentation; three formal essays. EN 362.01, Victorian Poetry: Madmen, Saints, and Sinners
Gayla McGlamery TTH 10:50-12:05 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 rich interaction between poets and painters in the Victorian period--we will look at selected reproductions of Victorian art in class and on the web in conjunction with the appropriate poems. Requirements: Midterm exam, final exam, one analytical research paper of 10-12 pages and a series of daily/weekly quizzes and assignments. EN 368.31, Critical Methodologies (Post-1800): Banned Books
June Ellis MW 4:30-5:45 We study five frequently-banned novels 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: Twain’s Adventures of Huckleberry Finn, Steinbeck’s Of Mice and Men, 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, most likely 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. Requirements: Active class discussions, weekly writing, oral presentation, two exams, term paper. EN 371.01, Post-Modern British and American Fiction
David Dougherty MW 3:00-4:15
This class examines the history, narratives, films, and music of that controversial and formative decade, the 1960s, when America re-invented itself, if not always voluntarily. After exploring artifacts from the Eisenhower years, when it seemed as if modernism never really happened and we could resume the comforting art forms of the nineteenth century, we’ll look at cultural and historical phenomena that called everything into question. Some of the key events will be the Bay of Pigs invasion, the Vietnam War, the civil rights movement, the space race, and the re-emergence of the beat/hippie culture. How often do you get to study the two most recent American Nobel Laureates in one class? New approaches to the novel by Ken Kesey, (One Flew Over the Cuckoo’s Nest), Joseph Heller (Catch-22), Stanley Elkin (The Dick Gibson Show), Robert Coover, (The Universal Baseball Association, Inc, J. Henry Waugh, Prop.), Toni Morrison, (The Bluest Eye) Thomas Pynchon (The Crying of Lot 49), Saul Bellow (Henderson the Rain King) and others. Popular music by the Beatles, Bob Dylan, Simon and Garfunkel, Cream, and others. Films include The Graduate, Dr. Strangelove, or How I Stopped Worrying and Learned to Love the Bomb, Guess Who’s Coming to Dinner, Easy Rider, 2001: A Space Odyssey, and others. Assignments include occasional reports on films, popular music, and historical moments, as well as the usual suspects = tests, class participation, discussion boards, and research-based, synthesis papers. Class discussion and discussion boards are a major component of the evaluation process. EN 386.01, Seminar in Literature & Film (Post-1800): From Berlin to Hollywood: German Directors & Classic American Cinema
Mark Osteen TTH 3:05-4:20 This course traces the careers of four distinguished German/Austrian directors who brought the techniques, themes and atmospheres they had discovered during the seminal Weimar period to classic Hollywood cinema. We begin with F. W. Murnau, director of two of the most influential films in cinema history, Nosferatu and Der Letzte Mann, as well as a masterpiece of American silent cinema, Sunrise. The dictatorial Fritz Lang (Metropolis, M) and his destiny machines invaded Hollywood in the 1930s to give us important social protest films such as Fury and You Only Live Once, before moving back to films of guilt and crime in the 1950s. Robert Siodmak transposed his Expressionist style to American cinema, thereby helping to invent the signature look of film noir in movies such as The Killers, Phantom Lady, and Criss Cross. Finally, writer/director Billy Wilder’s sardonic wit was responsible for highlights of post-war American cinema such as Double Indemnity, Ace in the Hole, Sunset Boulevard, and The Apartment. In addition to viewing 25-30 films, we’ll read biographies of Lang and Wilder, screenplays and selected criticism. Students will write a seminar-length paper, give oral presentations, and prepare analyses of selected scenes. Counts as an elective or as the capstone seminar in Film Studies. EN 399.31, Seminar in Literary Topics after 1800: Henry James and the Evolution of the Novel
Paul Lukacs T 6:30-09:00 This course studies what has become our culture’s dominant literary form, the novel, by focusing intensely on the work of Henry James, one of the principal figures responsible for that form’s evolution. James is a complicated, sometimes difficult writer. Born in New York in 1843, he began writing fiction in his mid-twenties. After some initial success, he moved to Europe in 1875, settling permanently in England, which is where he wrote virtually all of his novels. In 1915, the year before his death, he became a British subject. As this brief synopsis suggests, James was something of a trans-national figure, with allegiances that transcended the particularities of hearth and home. A lifelong bachelor, his primary commitment was to his art, specifically the art of the novel, which he helped elevate to a status previously reserved primarily for verse. “It must take itself seriously for the public to take it so,” James wrote in an 1888 essay titled “The Art of Fiction.” Clearly he took the novel seriously as an art form—as shall we in this seminar. Considering something seriously, however, does not necessarily entail being dry or dull. In that same essay James also wrote: “Art lives upon discussion, upon experiment, upon curiosity, upon variety of attempt, upon the exchange of views and the comparison of standpoints.” That in a nutshell is this seminar. Readings will include three novels by authors writing before James, and three by authors following James, as well as a healthy selection of work by James, "the master," himself. There will be no tests, one long paper, and a set of different presentations, including an extensive one in which students will in effect run the class discussion.
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