Graduate Courses

"The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid."

- Jane Austen, Northanger Abbey (1817)


Fall 2016 Graduate Course Offerings

Graduate Writing - EH 502 | Steve Trout
M, 6:00 pm to 8:30 pm

Students in EH 502 will learn how to write literary analysis at an advanced level and how to present their work at a professional forum. Readings will include numerous samples of quality scholarship and a variety of primary texts, including works by Willa Cather, Joseph Conrad, H.G. Wells, and Ernest Hemingway.   

Teaching College Writing - EH 505 | Patrick Shaw
MW, 1:00 pm to 2:15 pm

This course examines issues in composition history, theory, and pedagogy in the context of teaching first-year composition.  Students will use this knowledge to develop course material appropriate to teaching first-year composition.  Topics include syllabus and assignment design, lesson planning, course management, teaching in the linguistically and culturally diverse classroom, and assessment. Pre-requisite/Co-requisite: EH 502.

Studies in Shakespeare II - EH 517 | Richard Hillyer
R, 6:00 pm to 8:30 pm

We will study a handful of Shakespeare's histories and tragedies under the rubric "Shakespeare and Film," which is also the title of a book we will use as a guide.  In addition to reading that and seven plays, we will be watching six films during class-time.  The writing assignment will consist of a 20-25 page research paper developed in stages. 

Victorian and Edwardian Prose - EH 538 | Ellen Burton Harrington
MW, 2:30 pm to 3:45 pm

What it means to be British becomes a defining issue in the Victorian and Edwardian periods, encompassing class, race, ethnicity, and difference both within Britain and in the colonies.  Contemporary concerns about evolution and interest in the developing fields of criminal anthropology animate the discussion about nation, class, and race.  This class will focus on the figure of the detective in relation to these issues of nation and empire. We will read Dickens’s Bleak House alongside Dickens’s journalism; Wilkie Collins’s The Moonstone with a selection from Harriet Martineau’s travel narratives; Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde and the two Sherlock Holmes novellas “A Study in Scarlet” and “The Sign of Four” with contemporary criminal anthropologist Cesare Lombroso’s problematic theories; Kipling’s Kim with a range of contemporary and current perspectives on empire; and Joseph Conrad’s The Secret Agent in relation to prevailing interest in anarchism, empire, and criminal anthropology.  While looking at the larger issue of being subject to British rule within and outside of Britain, we will consider the ways in which class differences and Irish, Jewish, African, and Indian identity complicate the idea of being British.

Graduate Fiction Writing I / II - EH 583 / 584 | Linda Busby Parker
W, 6:00 pm to 8:30 pm

This class is the study of the craft elements of fiction writing (with a little creative nonfiction tossed into the mix). In our study, we will read selected works, including novels, short stories, personal essays, and some opening pages of memoirs. Lectures and discussions will examine: major concepts of creative writing, including conflict and tension, as well as the primary building blocks of creative writing. We will also examine the various forms of structure for creative writing and components of place, style, point of view, voice, character, and figures of speech. Class discussions will focus on the process of writing from first draft to revision (concept revision and line editing). Class time will be divided between lecture/discussion and workshops. Each week student work will be read and critiqued during the workshop component of the class. Since this is an advanced class in writing, students are expected to present a high quality of creative work. Each student is required to present at least three short manuscripts during the semester, and at least one of those manuscripts should be edited and polished. This manuscript might be a novel chapter, a short story, or a piece of creative nonfiction. Students will be working on novels (or novel revisions), on story collections, on major scenes, or on a memoir. The course is also structured around classroom discussions, as well as critique aimed at improving each student’s writing.

Monstrous Births, Erroneous Opinions, and Unsavory Speeches: Religious Commotions in Early American Literature - EH 590 | Becky McLaughlin
W, 6:00 pm to 8:30 pm

Beginning with the Antinomian Controversy of 1636-38 as documented by David Hall, this variable content course will explore the impact of religion on American literature from the 17th through the 19th century.  The story we generally tell ourselves about our Puritan forbears is one in which a courageous band of faithful Christians create a “city upon a hill” to be a beacon of religious tolerance and good will for the whole world to model itself upon.  But, in fact, from the 17th century’s three “crime waves”--the Antinomian Controversy, the Quaker Persecutions, and the Salem Witch Trials--to the three Great Awakenings of the 18th and 19th centuries, religious controversy and intolerance have been the order of the day.  To see the highs and the lows of our spotted religious history, or “the sluce, through which so many flouds of Error flow in,” we will read the sermons of John Wheelwright, Jonathan Edwards, George Whitefield, and Charles Chauncy; novels such as Wieland, The Damnation of Theron Ware, The Leatherwood God, and The Bostonians; short stories such as Melville’s “The Apple-Tree Table” and Hawthorne’s “Young Goodman Brown”; and the autobiographies of Jarena Lee, Zilpha Elaw, and Julia Foote.

Poetry through Film and Music - EH 592 | Nick Sturm
T, 6:00 pm to 8:30 pm

What are the relationships between poetry, film, and music? As genres, film and music dominate our conception of popular culture. What can we learn about poetry by reading it through and against these popular genres? How do the aesthetics of cinema, song, and language amplify and intersect one another? This advanced creative writing workshop will seek a range of answers to these questions by initiating an in-depth cross-genre practice of reading and writing by encountering poetry and poetry-related texts with ties to film and music. Students will generate, share, and critique original creative work that explores and experiments with these genres. In addition to a chapbook-length set of traditional written poems influenced by these aesthetic questions, students will also create poem-films and engage with writing processes that utilize music and film as a primary source.

Thesis Hours - EH 599

Please see Dr. Harrington if you would like to register for thesis hours and have not already discussed your committee, graduation requirements, etc.