| 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
D. 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 is required for registration. EN 099, Internships in English
D. 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 & .03, Major Writers: English Literature
E. Goss TTH 12:15-1:30 & 3:05-4:20 This section of English 201 will consider literature that engages with questions of knowledge. We will begin in the English Renaissance, a period marked by “rebirth” and a great interest in the new forms of knowledge made available through exploration and scientific innovation. From the Renaissance, we will move into the eighteenth and nineteenth centuries. As English society and culture encountered new worlds and discovered new technology, it had to contend with the ways such novelty affected its understanding of itself and its notion of humanity. This course will assume that literature offers evidence of the ways that English culture sought to understand and grapple with its ever-changing notion of knowledge. We will consider some ways that literature registers responses to the questions raised by new forms of knowledge, as well as raising its own questions about what it means to be in the world. What kinds of knowledge does literature offer? Some texts will include: Doctor Faustus, The Tempest, Gulliver’s Travels, Don Juan, Frankenstein, The Time Machine, Brave New World EN 201.02, Major Writers: English Literature
C. Abromaitis TTH 8:00-9:15 We will read epics and romances from the Middle Ages, the Renaissance, and the twentieth century: Heaney’s translation of Beowulf, Sir Gawain and the Green Knight in modern English, Excerpts from Spenser’s Fairie Queene, five books from Milton’s Paradise Lost, and J. R. R. Tolkien’s The Lord of the Rings. EN 203.01, Major American Writers: Natural and Urban Landscapes
J. Cole MWF 12:00-12:50 From the moment European explorers set foot on American shores, they were astounded and captivated by the landscape: by its beauty—and by its potential for transformation. This course attempts to answer three questions: How has America’s natural landscape influenced its human occupants? How have humans, in turn, transformed the landscape? And finally, how has the relationship between humans and the environment inspired literary art? In addition to reading and writing about literature, students will be able to apply course concepts to their work at service sites including local soup kitchens, parks, and a nearby organic farm. EN 203.03, Major American Writers: Imagining the Nation
S. Guttman TTH 1:40-2:55 This course explores the idea of America as an imagined community, one where ideals of unity and a distinctive national identity can sometimes conflict with the realities of expansion and diversity. Writers to be studied include: Frederick Douglass, Mark Twain, Charlotte Perkins Gilman, Zitkala Sa, Langston Hughes, William Faulkner, Zora Neale Hurston, and Carlos Bulosan. EN 203.31, Major Writers: American Literature
L. Hinkel MW 4:30-5:45 As the course title implies, we will explore both what is “major” about the creative achievements of these writers—that is, the scope and measure of their literary excellence—and what is distinctly “American” about their imaginative engagements with the world. This is not, strictly speaking, a survey course, but the range of authors covered will encompass a uniquely American story. Reading America through its great writers is both a constructive and a critical enterprise. The very themes around which “The American Dream” constellates—nation, God, prosperity, individualism, democracy—also prove to be the sites of greatest contention. We’ll explore these core American concerns not only through the work of some of our founding writers (Emerson, Melville, Dickinson, and Whitman), but also through the prisms of Edith Wharton’s Old New York, Philip Roth’s askew Jewish idylls, the “lower frequencies” of Ralph Ellison’s Invisible Man, and some edgy contemporary fiction and graphic novels. EN 205.01, Major Writers: Shakespeare
B. Crockett TTH 1:40-2:55 In this course we’ll read, talk about, write about, and perform passages from the plays of the most beloved author in the history of English literature. While millions upon millions of people have discovered to their delight that Shakespeare's words have wings, others are intimidated by the difficulty of negotiating those words. This course is designed not only to challenge those who already enjoy Shakespeare but also to teach those whose experience has been less enlightening that the plays can be immensely enjoyable. No matter whether you fall into the former category, the latter, or somewhere in between, a concentrated, sustained effort on your part will yield rich rewards. The syllabus will include a broad sampling of the varied products of Shakespeare's astounding imagination: sonnets, histories, tragedies, comedies, and romances. We will read the plays as blueprints for live performances in the various cultural contexts of the times in which they were written, with particular attention to the subtleties of the playwright's language. Requirements will include short written responses to each day’s readings, a research paper, and mid-term as well as final exams. EN 205.02, Major Writers: Shakespeare
D. Dougherty TTH 3:05-4:20 This class involves close reading of selected plays about English history, comedies, and tragedies by the most important writer in the history of the English language, supplemented by a few readings from the sonnets, also the best in the business. We’ll examine closely some of Shakespeare’s Greatest Hits, like Twelfth Night, Hamlet, and King Lear, as well as some that may be new to you. The work of the one writer whose name is synonymous with literacy. You’ll laugh, you’ll cry, you’ll learn. Expect spirited discussion of the texts and frequent discussion board topics. There will be an optional film adaptation paper as well as a mandatory research project, mid-term exam and a final. EN 211.01, Major Writers: Classical Myth
Instructor TBA MWF 10:00-10:50 A study of the traditional stories of the Greeks and Romans as expressed in their literature and art, with an emphasis on the relationship of mythology to rituals and religious beliefs, legends, and folktales.
EN 310.01, Shakespeare I
B. Crockett TTH 3:05-4:20 What could be better than to immerse ourselves in the rich, evocative language of Shakespeare? This course focuses on some of the best histories and tragedies of England's, probably the world's, most beloved playwright. We will read the plays as blueprints for live performances in the various cultural contexts of the times in which they were written, with particular attention to the nuances of Shakespeare's language. Readings will most likely include Romeo and Juliet (which the Blackfriars Stage Company will perform at Loyola in September), Hamlet, Macbeth, Othello, King Lear, Henry IV, Part I, Henry V, Richard II, and Richard III. Requirements will include short written responses to each day’s readings, a research paper, and mid-term as well as final exams. EN 313.31, Renaissance Literature: Shakespeare Reading
T. Scheye MW 4:30-5:45 No one knows how Shakespeare happened, but we know a great deal about the world he lived in and the books he read. This course will focus on a few of those books. Some of them are among the sources he borrowed from (e.g. the plays of Christopher Marlowe); others capture the spirit of his world (e.g. Spenser’s Faerie Queene). All of them are worth reading. EN 337.01, Seminar: Humor in the Long Eighteenth Century
C. Abromaitis TTH 1:40-2:55 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. EN 339.01, Seminar: Mirror of Love
P. McCaffrey TTH 12:15-1:30 Description TBA EN 354.01, Topics in Romanticism: Vision and the Visionary
E. Goss TTH 3:05-4:20 This course will suggest that literature of the late 18th and early 19th century reveals a tension between two understandings of what it means to see. On the one hand, "vision" refers to the act of sight, understandable in physiological terms and grounded in the world of fact. On the other hand, "visionary" describes that which privileges imagination and the fanciful over the factual. Preoccupied with the connection between sight and imagination that emerges in these two terms, Romantic period literature offers a way to consider our assumptions about what it means to see and how those assumptions continue to influence the way we think. EN 360.01, The Nineteenth-Century English Novel
G. McGlamery TTH 1:40-2:55 "The Nineteenth-Century Novel" is a course for students who like to enter other worlds through books and live in them for awhile. It is also a course for people who like to read—because many nineteenth-century English novels are long as well as marvelously engaging. During the semester we will study the evolution of the novel in the Age of Reform, reading works by Austen, Dickens, George Eliot, Hardy. Some reading of applied theory will be included. Students will view at least one film adaptation, take a midterm and a final exam, and write an extended analytical essay of 10-12 pages. EN 367.01, Topics in American Literature: The Novel in America
J. Cole MW 3:00-4:15 Seen simultaneously as sources of corruption, evidence of American cultural independence, instigators of political and social reform, and commentaries on American life and culture, novels have a checkered past in U.S. literary history. Beginning with the first “bestseller” in America, Susanna Rowson’s Charlotte Temple (1791), and ending with one of the hallmarks of American modernism, William Faulkner’s The Sound and the Fury (1929), we will read novels as markers or even agents of cultural change in addition to subjecting them to more traditional textual analysis. Secondary readings will form a substantial component of the course; students will also have the option to engage in service-learning activities that will allow the application of course concepts to the present novel-reading world of today. EN 378D.01, Race and Ethnicity in American Literature
B. Norman MW 3:00-4:15 Welcome to our introductory course in race and ethnicity in American literature. In this course, we will explore how and why writers from a variety of ethnic backgrounds, including white writers, engage dominant narratives of America-both as a political state and as an imagined nation. Such writers help us see that national identity can include or exclude, often at the same time. The central question we will ask in this course is, What is the relationship between American-ness and ethnicity? Secondarily, we will also inquire into the relationship between race, ethnicity, and other factors of identity, especially class. We will assume that multi-ethnic literatures help us-indeed, require us!-to ask and answer these questions by paying close attention to powerful stories of American-ness, and how authors respond by claiming, critiquing, rejecting, or re-writing such stories, often doing all four. Throughout the course, we will consider arguments about the promises and pitfalls of emphasizing race, ethnicity, and diversity in American literary studies. Writers we will consider will likely include: Sherman Alexie, James Baldwin, Junot Diaz, W. E. B. Du Bois, Thomas Jefferson et al., Maxine Hong Kingston, Toni Morrison, John Steinbeck, Booker T. Washington, Edith Wharton, and others. EN 399.31, Seminar: Blue Notes—The Literature of Jazz
M. Osteen W 6:00-8:30 That great sage Dizzy Gillespie once asked, “To be or not to bop?” Answer: to be bop. By the end of this course, you will. Ken Burns’s famous documentary reminded us that jazz music has a distinguished history. But there is also a tradition of writers seeking to represent and imitate the music’s dynamic emotions and virtuoso techniques. This course will explore the many ways that jazz has inspired literature. We’ll read a history of jazz to follow the music’s migration northward from New Orleans, with brief stops at some of the stations—swing, bop, cool, and free—it passed along the way. We’ll stride through poetry by Langston Hughes (Montage of a Dream Deferred, Ask Your Mama), Amiri Baraka and others; swing through short stories by figures such as Eudora Welty and James Baldwin; call and respond to plays by August Wilson and Warren Leight; sight-read cool novels by James Weldon Johnson (Autobiography of an Ex-Colored Man), Toni Morrison (Jazz), the Beats, and a couple of other contemporary writers, and sample selections from the autobiographies of Duke Ellington, Billie Holiday, Louis Armstrong, and others. Of course, we’ll also listen to loads of music. Students will post weekly on Blackboard, give oral and musical presentations about their favorite artists or genres, write a research paper, and in the spirit of jazz, be asked to experiment with different types of writing that reflect the music’s rich palette of hues and cries. Note: basic musical knowledge is highly recommended. Selected students may continue into the Aperio seminar on Baltimore jazz in Spring 2010. Ready to deedle a dee rop a wee boop bop? Ah-one, ah-two, ah-one, two, three, four. . . .
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