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 2019

Internships

EN 090 English Internships
EN 097 Internship in Public School
EN 098 Internship in Private School
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: Baltimore: A Literary Tour
EN 101.04 and EN 101.05
MWF 8:00-8:50 and MWF 9:00-9:50
Dr. Emily Yoon Perez

This course serves as an introduction to literature through your current city of Baltimore, Maryland. Baltimore has a rich literary archive that lends itself to an in-depth study of poetry and prose. In addition, the city’s history illuminates larger social and cultural concerns that inform our contemporary moment. We will carefully consider the persisting legacy of slavery in the city’s past and present, especially its social, political, and cultural effects for residents. We will examine how Baltimore is represented from a diverse range of perspectives and think critically about the ways race, class, gender, religion, sexuality, and other socially constructed categories of difference inform how different people experience the city. Through engaging with the course materials, you will cultivate a more sophisticated knowledge of the city through in-depth analysis and close reading of the required texts.

Understanding Literature: The Stranger: Literature and the Ethics of Hospitality
EN 101-SO.06 and EN 101-SO.08
MWF 10:00-10:50 and MWF 11:00-11:50
Dr. 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. This is a Service-Learning class, and students will have the opportunity to work with immigrants in the Baltimore community as part of our effort to welcome them and to share 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.

Understanding Literature: The Body in Writing: Disability Literature
EN 101D.09 and EN 101D.10
MWF 11:00-12:50 and MWF 12:00-12:50
Dr. 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: First Encounters and the Literary Imagination
EN 101.16 and EN 101.19
T/TH 12:15-1:30 and T/TH 3:05-4:20
Dr. Daniel 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. 

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.

Major English Writers: Bad Men in British Literature
EN 201.01 and EN 201.02
MW 4:30-5:45 and MW 6:00-7:15
Dr. 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
EN 201.03
T/TH 1:40-2:55
Dr. Carol Abromaitis

The epic and romance occupy a central place in the canon of western literature.  In these works questions of good and evil, life and death, honor and shame are posed and answered.  The transcendental qualities – beauty, truth, goodness, and unity – occupy the minds and hearts of the heroes even as they confront the inevitable fact of evil, individual and societal.  Moreover, the authors (known and unknown) tell stories with beginnings, middles, and ends that entice the reader to enter worlds that differ from the modern world yet feature characters of all shapes whose humanity is tested by monsters. We will read these works closely for content, themes, structure, aesthetic qualities, historical context, and generic structures 

READINGS:  Beowulf, Sir Gawain and the Green Knight, excerpts from Paradise Lost (Books I, II, IX, XI, XII), The Hobbit, and, from The Lord of the Rings, The Fellowship of the Ring, and the beginning of The Two Towers.
PAPER: Students will write a critical and analytical research paper on one of the assigned works that will involve research in the library.
TESTS: There will be three period tests and a final examination.

Major Writers: English Literature
EN 201.04
T/TH 4:30-5:45
Dr. Carol Abromaitis

The influence of religion in literature in the 19th and 20th centuries has implications for readers today.  Victorian, Edwardian and 20th-century English poetry and fiction explore the depths of faith and disbelief, the persistence of virtue and sin, and the inevitable confrontation with death.  Authors will be chosen from the following:  Arthur Hugh Clough, Matthew Arnold, Gerard Manley Hopkins, Francis Thompson, Rudyard Kipling, Oscar Wilde, G. K. Chesterton, C. S. Lewis, Grahame Greene, and Evelyn Waugh.

PAPER: Students will write a critical and analytical research paper on one or two of the assigned authors that will involve research in the library.
QUIZZES: There will be short quizzes on the works.
TESTS: There will be a mid-term and a final examination.

Major Writers: English Literature: The Naked Eye: Victorian and Modern Ways of Seeing
EN 201.06 and EN 201.07
T/TH 1:40-2:55 and T/TH 3:05-4:20
Dr. Nicholas 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: American Lit: Migrant Subjects
EN 203.01 and EN 203.02
MW 3:00-4:15 and MW 4:30-5:45
Dr. Emily Yoon Perez

This course explores the migrant subject in American Literature as one who traverses oceanic boundaries as immigrants and refugees, but also one who travels within the United States through transit and on foot. In addition, we will consider how bodies in movement complicate and undermine physical and symbolic boundaries, and allow for new ways of thinking about race, class, gender, sexuality, and national identity. In that spirit, this course will help you develop a sense of different literary movements, including Realism, Modernism, and Postmodernism, through reading a wide range of texts from the twentieth to twenty-first centuries. Questions to guide our study include: How does one's identity affect one's mobility within and beyond the nation? How do these texts explore sites of transit as potential sites of reifying or resisting both physical and symbolic boundaries? How do these texts disrupt formal conventions in their exploration of various migrations?

Major Writers: American Lit: America as an Imagined Community
EN 203D.03 and EN 203D.04
T/TH 10:50-12:10 and T/TH 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 change and diversity. The readings and discussions will enhance your perception of what it means to be an American, because you’ll consider the nation as an idea 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? With a focus on the intersection of gender studies and African American literature, this course fulfills your Loyola College core diversity requirement. 

Major Authors: American Literature
EN 203.05 and EN 203.06
T/TH 3:05-4:20 PM and T/TH 4:30-5:45pm
Dr. Melissa Girard

What does “home” mean to Americans and American society? From HGTV to Etsy and Pinterest, we’re bombarded by advice about home improvement, “domestic” arts like cooking and sewing, and all manner of “DIY” home projects. What is the cultural significance of this current “nesting” craze? Have Americans always found their homes to be so entertaining? How do our feelings about the home influence public policy and politics?

In order to begin answering these and other questions about home and domesticity, this course will examine a variety of American literary works from the nineteenth century through to our contemporary moment. We’ll begin with nineteenth-century poetry by Emily Dickinson and short stories by Herman Melville, Edgar Allan Poe, Charlotte Perkins Gilman, and Kate Chopin, which helped to establish the blueprint for the modern American home. We will then move into the modernist era, exploring early twentieth-century works by Edith Wharton, Ernest Hemingway, Emma Goldman, and Mina Loy, which revolted against the confines of traditional domestic life. Finally, we will move toward our contemporary moment by reading some of the most iconic mid-century representations of the nuclear family in Lorraine Hansberry’s play, A Raisin in the Sun, the novels The Man In the Gray Flannel Suit and The Women of Brewster Place, and poetry by Robert Lowell, Sylvia Plath, and Anne Sexton. These works of literature, and a selection of critical essays, will help us understand how the American home has changed over the last two hundred years and think more deeply about the race, gender, and class values currently associated with “home.” In addition to Midterm and Final exams and weekly responses, each student will also complete an independent research project focused on the course’s primary topic.

Seminar: Medieval Literature: Being a Man in the Middle Ages: War, Chivalry, Crusade
EN 307.01
MWF 10:00-10:50
Dr. Kathleen Forni

We all know that gendered behavior is culturally constructed. But medieval male heroes can nonetheless appear quite strange: Beowulf brags too much, Lancelot resembles a needy stalker, Roland is suicidally stubborn, Robin Hood acts like a thug, and Christian crusaders seem like mass murderers. Let’s not forget Joan of Arc who was burned at the stake over her insistence on wearing pants. In this course we’ll explore the complex cultural logic that dictated and valorized these kinds of behaviors…and how some contemporary notions of masculinity still labor under assumptions we’ve inherited from the Middle Ages.

Texts include: Beowulf, Dream of the Rood, Bayeux Tapestry, Fulcher of Chartres, The First Crusade, Song of Roland, Chretien de Troyes, Arthurian Romances, Sir Gawain and the Green Knight, The Geste of Robin Hood, and The Trial of Joan of Arc.

Shakespeare I
EN 310.01
MW 4:30-5:45
Dr. 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. 

Book, Edition, Archive
EN 344.01
T/TH 3:05-4:20
Dr. Jean Lee Cole

How does literature become literature? This course examines the production of literature from an editorial and material perspective, considering how editors and publishers, as well as the physical constraints and affordances of paper, ink, board, and pixel, give form—and meaning—to literary texts. Beginning with theories and principles of textual and documentary editing, book production, and genre, the class will then take on an actual editorial project: Parole Femine: Words and Lives of the Woman’s Literary Club of Baltimore, an anthology of poetry, prose, drama, and journalism written by Baltimore writers between 1890-1930. The volume will be published by Loyola’s student-run Apprentice House Press and distributed on Amazon as well as in local bookshops and museums. Students enrolling concurrently in CM 384 Book Marketing and Promotion or CM388 Book Design and Production may be able to work on the project in both courses.

Literary Criticism and Theory
EN 345.01
T/TH 10:50-12:05
Dr. Paul Lukacs

This is a course about assumptions, the often unstated concepts that support the study of literature or literary criticism.  As literature students we do two things—we evaluate and we interpret.  But on what basis do we do either of these?  Is the meaning of a poem or play or novel found in the text itself, in the author who created it, or in the reader who responds to it?  And who determines the value of a work of literature?  Is liking the work the same as judging it good?  These are the kinds of questions that this course explores.  In it we shall read people who address them explicitly rather than examples of criticism that deal with them implicitly.  That is, we shall read theory as theory, focusing primarily on its development in the twentieth century, when the study of literature became a legitimate academic discipline.  Requirements include two papers, two tests, and a willingness to acknowledge and even embrace befuddlement. 

Topic in Romantic Lit: The Gothic Tradition
EN 354.01
T/TH 9:25-10:40
Dr. Daniel Mangiavellano

 “Mad, bad, and dangerous to know” was how Lady Caroline Lamb described Lord Byron in 1812, but it could just as easily describe the villains populating the Gothic novel in the eighteenth and nineteenth century. In this class, we will study the literary conventions of Gothic poetry and prose from Horace Walpole through the Romantic and Victorian periods and ask if the Gothic tradition exchanges social justice and ethics for the thrills and chills of the supernatural and sentimental. Such questions will help us situate the Gothic within eighteenth-century literary history, and trace its subsequent influence on the development of British Romantic and Victorian literary theory and aesthetics. Why does Romanticism have such a tenuous relationship to the Gothic? If the Gothic is as morally and ethically bankrupt as early Romantics would seem to think, why do later novelists like Mary Shelley, Bram Stoker, and Henry James return to Gothic tropes? Ultimately, let’s ask why readers (then and now) find so much pleasure in getting scared and what this tells us about our own tastes and habits.

Seminar Modern Literature: Poetry in Public
EN 383.01
T/TH 12:15-1:30
Dr. Melissa Girard

On October 7, 1955, the legendary “Six Poets at Six Gallery” poetry reading inaugurated a new era of poetry in public. “Beat” poets, such as Allen Ginsberg, Anne Waldman, Lawrence Ferlinghetti, Gary Snyder, and Jack Kerouac, challenged a poetry establishment that had become increasingly sterile and isolated from American audiences. This class reclaims their vision of a poetry directly engaged with public politics and deeply embedded in its local community. Throughout the semester, we will survey a variety of poets and poetry movements that inspired the Beats and that have arisen from their experiments. We will focus primarily on performance-based poetries from nineteenth-century minstrelsy through the Harlem Renaissance, the Beats, Nuyorican poetry, Dub Poetry, and Slam. You will be introduced to these diverse traditions in the U.S., U.K., Caribbean, and throughout the African diaspora, and also develop methods for analyzing poetry in performance. Our “readings” will include an array of multimedia: recordings of poetry readings and performances, spoken word anthologies, popular radio broadcasts, and videos, as well as printed poems and critical essays, most of which will be made available through the course website. These movements and many other poems and poets in between will help us to understand how local communities have given rise to new forms of poetry and new models of what it means to be a poet.

Seminar: Imagining Apocalypse in Contemporary Literature
EN 387.01
T 6:30-9:00
Dr. Mark Osteen

During the Cold War, authors imagined the end of the world occurring through a nuclear conflict. Contemporary novelists have turned to other ways of imagining apocalypse. In this course we will explore the apocalyptic visions of three distinguished authors in three works. That’s right: we will read only three works, but they are colossal! 

We will begin with David Mitchell’s Cloud Atlas (2005), a brilliant meditation on the concept of eternal return through six novellas embedded like Russian dolls: an historical fiction based on the life of Herman Melville; the story of a young composer in the 1930s; a mystery about a reporter investigating a nuclear site in the 1970s; a comic satire in which a publisher becomes trapped in a nursing home; and a science fiction story about clone workers in a fast food restaurant of the future. At the center of this onion lies a post-apocalyptic coming-of-age tale set on a Pacific Island.

We then turn to Don DeLillo’s masterpiece Underworld (1997), a massive fictional history of the Cold War that begins with the famous Dodgers-Giants playoff game in 1951 and then moves backward from the 1990s. While tracing Thomson’s home run ball through its owners, DeLillo provides a sweeping view of mid-century American life through a large cast that includes a young thug turned nuclear analyst, an artist with whom he has an affair, along with graffiti writers, nuns, nuclear technicians, the builder of Watts Towers, legendary comedian Lenny Bruce—and J. Edgar Hoover! Widely recognized as one of the landmark fictions of the past fifty years, Underworld both offers a vision of apocalypse and asks why we are so fascinated with such visions.

We will conclude with Margaret Atwood’s science fiction trilogy Maddaddam, which depicts the end of civilization following a pandemic. The first two novels, Oryx and Crake (2003) and The Year of the Flood (2009), trace the pre-apocalyptic lives of two sets of survivors—including the best friend of a scientist who creates a new race of humanoids and three women belonging to an eco-religious sect—who come together in the final volume, Maddaddam (2013). This treatment of genetic engineering and the perils of scientific irresponsibility raises provocative ethical questions that remain very timely.

Take a journey from the recent past to the near future as we investigate how today’s finest novelists have imagined the end of the world.   Students will post weekly on Moodle, give an oral presentation, write a seminar paper and engage in loads of stimulating discussion.

Crosscurrents in US and Caribbean Literature
EN 392.01
MWF 1:00-1:50
Dr. Stephen Park

This course will explore how writers work across languages and national boundaries in order to form meaningful artistic communities of their own choosing. We will focus on 20th-century U.S. and Caribbean writers, and we will consider what a work of literature means both at “home” and when it travels. For instance, Langston Hughes is an important U.S. poet whose work is central to our understanding of the Harlem Renaissance and African American Literature. But, when we also consider that Hughes’s poems were translated into Spanish and widely read throughout the Americas, this expands our understanding of Hughes as an “American” poet. When we further consider his close relationship with Afro-Cuban poet Nicolás Guillén and his efforts to translate Guillén into English, we’re able to ask new questions about literature and the African Diaspora so that Harlem suddenly becomes a more international, multilingual place than it might first appear. Throughout this course we will consider the intersections of language, culture, and empire that made the writers of these regions profoundly intertwined. Looking at writers from Haiti, Martinique, Cuba, Puerto Rico, Barbados, and the United States, we’ll think about how artistic exchanges happen across borders and how they come to reshape the cultural life of the Americas. Readings will include Hughes, Guillén, Zora Neale Hurston, William Faulkner, Aimé Césaire, and Maryse Condé, among others. All texts will be read in English, but students who are able to read Spanish and/or French will be encouraged to read those texts in their original languages. This course counts toward the Minor in Latin American and Latino Studies.

 

 

 

 

 

 

 

 

 

 

 

 

Evert
Alumni

Mary Thackston Evert

This 1996 Greyhound innovates and inspires with her Florida-based athletic apparel company

English