Graduate Courses, Fall 2008

Times and locations of class meetings are subject to change. Consult the UF Schedule of Courses for an explanation of the class period abbreviations.

Course no. Time(s) Course title Instructor
downAML 6017 W 9-11 Development of the Slave Narrative White
downAML 6017 T E1-E3 American Literature & Sexuality, 1670–1840 Schorb
downCRW 6130 T 6-8 Graduate Fiction Workshop Powell
downCRW 6130 T 6-8 Graduate Fiction Workshop Leavitt
downCRW 6331 T 6-8 Graduate Poetry Workshop Greger
downCRW 6331 M 9-11 Graduate Poetry Workshop Wade
downENG 6075 T 6-8 Issues in Theory: Disciplinarity in the “Field” of Literary Studies Leavey
downENG 6075 R 3-5
W E1-E3
Surrealist Cinema & Historicist Criticism Burt
downENG 6137 M 9-11
W E1-E3
Experimental Cinema Alter
downENG 6138 R 6-8
F 9-11
Feminist Theory & Film Turim
downENL 6216 F 3-5 Studies in Middle English: Chaucer’s Canterbury Tales & the Allegories Paxson
downENL 6246 M 3-5 Jane Austen & Romanticism Page
downENL 6256 M 9-11 Theorizing the Fin de Siècle: Images of Late-Victorian Mythologies Snodgrass
downENL 6276 M 6-8 Joyce & Cultural Studies Kershner
downLAE 6947 M E1-E3 Writing Theories & Practices Sánchez
downLIT 6236 W 3-5 Gendering U.S. Imperialism Schueller
downLIT 6236 T E1-E3 Caribbean Culture & U.S. Imperialism Rosenberg
downLIT 6357 R 9-11 Neo-Soul or Post-Black? Contemporary Black Cultural Studies Ongiri
downLIT 6357 W E1-E3
F 6-8
The World of Langston Hughes Reid
downLIT 6856 W 6-8 Into the Archive: Reading in the Baldwin Kidd

AML 6017

Development of the Slave Narrative

Edward White

This course is a survey of the major African-American fugitive slave narratives of the colonial and antebellum periods, and of the major critical approaches to this body of writing.  Authors treated will include John Marrant, William Grimes, Moses Roper, Lewis & Milton Clarke, Josiah Henson, Solomon Northup, Henry Bibb, William & Ellen Craft, and Jacob Green, as well as the better known Equiano, Douglass, and Jacobs.

Two critical assumptions will guide our readings and discussions.  First, contrary to the long-held belief that Frederick Douglass authored the paradigmatic slave narrative (with Harriet Jacobs writing the woman’s “answer”), we will examine the extremely diverse body of narratives with attention to the problem of canon-building.  Second, contrary to the tendency to read slave narratives as historically rich but literarily impoverished texts, we will examine the literary development of this tradition and consider the possibility that it played a central role in US literary development.  To that end, we will focus on a few case studies, with likely candidates including Charles Ball, the probable author of the important narrative “Slavery in the United States”; William Wells Brown, one of the most diverse and successful antebellum writers; and the iconic Sojourner Truth, whose status as an “author” challenges and perhaps clarifies problems of authorship.


AML 6017

American Literature Before 1900

Jodi Schorb

This seminar introduces students to the theories, methodologies, and texts central to the study of early American sexualities. Our primary focus will be the long eighteenth century – an undertheorized period that, if we apply Foucault, should reveal a shift in sexual knowledge between early modern acts and modern industrial identities. How do dominant and emergent literary genres (religious sermons, diaries, broadsides, travel accounts, early American novels, short fiction) reflect existing sexual knowledge and beliefs, as well as proliferate new sexual discourses and desires? How are various geographies – the “city on a hill,” the plantation, the city – tied to specific sexual knowledges, possibilities, and threats? How and at what critical moments do concepts of religious, political, and familial order intersect and influence the creation of “ideal” and deviant bodies (including sodomites, cross-dressers, rapists, coquettes, rakes, incestuous twins, and hermaphrodites)? How does the rise of the “culture of sentiment” impact how characters should or shouldn’t “feel” about sex? Who produced, circulated, and consumed these texts and for what purposes (orthodox and other)?

Secondary readings, largely interdisciplinary in scope, will frame the dominant challenges, debates, and gaps in how we currently talk about early American sexual knowledges and practices (including the limits of Foucaultian frameworks), and shed light on the role that religion, race, region, class, colonization, the emerging public sphere, and the expanding print marketplace play in shaping representations of gender and sexuality.  

While our focus is the long eighteenth century, we’ll pay some attention to Puritan and antebellum writing, as they help us theorize changing conceptions of sexuality. Primary texts likely to include sermons by Samuel Danforth; diaries of Michael Wigglesworth and William Byrd; popular accounts of cross-dressing soldiers, including The Female Review (1797) and “Female Marine” pamphlets; early national novels including Charlotte Temple, The Coquette, and Ormond, as well as useful texts that signal the shift towards the so-called “American Renaissance,” including The Hermaphrodite, Poe’s “Mystery of Marie Roget,” and others.

Requirement include regular attendance and participation, up to two oral presentations, up to six short (3-page) analytical response papers shared in class, and a final seminar paper produced in stages.


CRW 6130

Graduate Fiction Workshop

Padgett Powell

This course is open to MFA candidates in fiction only.

Your job is to write with force and surprise and to tender your efforts regularly and cleanly. My job is to induce criticism which will cure whatever ills are at hand without making the writer ill.

It is difficult to say what is wrong with a piece of fiction in a way that will be at once corrective and palatable to its author. A good professional editor may manage it with a piece not much flawed. I fear, after nearly twenty years trying, that it is rarely possible to do this in a direct way to a more troubled piece of writing for the forming writer then and there. I believe, though, that it is possible, in speaking ostensibly about this or that piece of writing by this or that writer, to speak prescriptively and salubriously toward the bettering of later writing, both that done by an author and by witnesses to his or her ordeal. A general sense of what constitutes good writing is supposed to obtain in the course of our piecemeal daily assaults upon the specific faults and merits of a particular piece of writing.

Objective of course clearly stated at outset: that you leave it writing better than when you entered it. That you put to paper things not said before that surprise us.


CRW 6130

Graduate Fiction Workshop

David Leavitt

This is an intensive fiction writing workshop for graduate students in the MFA program in Creative Writing. Reading varies, but will probably consist of short novels.

The workshop itself operates on the principle that prose fiction is made of words, punctuation marks, and white space. Craft is the name of the game, with the result that we spend more time talking about point of view and voice than we do about subject matter, “theme,” or “plot.” The class is rigorous. Members are expected to submit their work at least four times during the semester, and to emerge at the end better writers than they were at the beginning.

Although most of the writers who take this workshop focus on the short story, I will be making a concerted effort to create an atmosphere that will be equally fruitful for those working on novels or longer works.


CRW 6331

Graduate Poetry Workshop

Debora Greger

“When Kid Delicious is playing good, the whole poolroom knows it,” he said. “His breaks sound like a plane hitting the Empire State Building.”

When the balls have finished scattering, Delicious is able to take in the whole table at a glance, figuring out how he’s going to sink each ball in numerical order, and then sets about his work with such methodicalness that he seldom leaves himself with a shot that would challenge a recreational player.

“When you’re young, you learn all the hard shots,” he explained, “and then when you get better, you learn how not to need them.”

--The New York Times
October 6, 2006


CRW 6331

Graduate Poetry Workshop

Sidney Wade

This is a poetry workshop in which we will examine the work of several poets very closely and work to use what we discover about their techniques to our own advantage. Poets most likely to be included are Sylvia Plath, Paul Violi, Robert Frost, Les Murray.


ENG 6075

Issues in Theory: Disciplinarity in the “Field” of Literary Studies

John Leavey

This course will examine the limits (lives, roles, politics, existence, death, and birth) of notions of discipline within the “field” of literary studies. The perspective will be less of a systematic overview of one particular discipline, of its origin, development, renewal, and possible extinction, than of the interjection of the notion of “discipline” at various moments within the “field” of literary studies to leverage the field elsewhere.

Course requirements

Tentative Readings:


ENG 6075

Issues in Literary Theory

Richard Burt

This seminar will juxtapose surrealist cinema and (New) Historicist criticism to interrogate dialectically their differing accounts of what Stephen Greenblatt calls “the touch of the real,” narrative, and the uncanny.  We will focus primarily on the themes of violence and atheism in the Mexican and European films of Luis Bunuel and on Hollywood in David Lynch’s most recent films.  We will also survey films such as Raoul Ruiz’s Hypothesis of a Stolen Painting, Alejandro Jodorowsky’s El Topo, Francis Picabia’s Entr’acte, Jean Cocteau’s La belle et la bete, Woljech Has’s Saragossa Manuscript, and animated films by Jan Svankmajer and the Brothers Quay, and Ferdinand Arrabal’s Viva La Muerte.  Readings will include essays by Sigmund Freud, Walter Benjamin, Theodor Adorno, and Stephen Greenblatt, among others.


ENG 6137

Experimental Cinema

Nora Alter

In this seminar we will examine the evolution of experimental and avant-garde cinematic practice. We will look at the gradual conception, theorization and practice of film as a distinct art form referred to by early critics as the sixth or seventh art. The seminar will be organized roughly chronologically. We will commence with a broad survey of writings from the “silent” period which attempt to understand and theorize what was then still a relatively new medium. We will then turn to filmic experiments, primarily in Europe, in the twenties such as Dadaism, Surrealism, Abstract or Absolute films, Symphonies and the like. Following WWII we will examine avant-garde film production in the US looking at both West Coast and East Coast examples. Close attention will be paid to specific genealogies i.e., film production which emerges out of a background in fine arts vs. a cinematic practice which comes out of the tradition of cinema. How does “underground cinema” or “structural” film fit into our rubric? At the same time we will explore European avant-garde production both from the perspective of single auteurs as well as film collectives. Our field of study will expand beyond North America and Europe to include so-called “Third Cinema.” Finally we will end with contemporary global audio-visual practice where the lines between film and art are increasingly blurred in terms of production, exhibition and distribution. One central concern of the seminar will be how technological development affects aesthetic concerns. Thus, for example, the advent of sound significantly complicates the conception of art film, with many filmmakers and artists preferring mute images. Similarly, the shift from analogue to video and later digital production has had profound implications.


ENG 6138

Feminist Theory & Film

Maureen Turim

The specific focus of this seminar will be on the filmic female body in its relation to both the psyche and to the public sphere. We will read classic and contemporary feminist theory, as well as several key examples of feminist film analysis; much of this material will be as individual essays on ARES to augment the books chosen for the course. We will look at changing notions of the female body across the twentieth century, and how women’s bodies are placed into action, or suspended in immobility. One concern will be with how the body as fetish affects the psyche; how do women characters assume a mental image of femaleness or femininity? What of the “masculine” woman? How does race and ethnicity affect female body perception? How does fashion design and redesign the body? If the body serves as sign, how does irony figure into the reading of the body? We will start by comparing two scenes in which women trade on their bodies in exchange for goods: the hitchhiking scene in It Happened One Night, and the file access scene in Erin Brockovich. We will consider Dreamgirls in its juxtaposition of female bodies and voices as source of fame and attraction in African American popular culture. Boys Don’t Cry will be juxtaposed to The Wind to discuss bodily frontiers in two époques. This seminar will entail an investigation of the film image and film history while exploring this specific topic. Students who have not studied film before should read Bordwell and Thompson’s Film Art in preparation.

Students will prepare presentations in powerpoint for the class to be delivered to the class, then posted on the website. Participation in seminar discussion will be essential. A short assignment will be due four weeks into the class. Then assignments will be prospectus, bibliography, and outlines, leading to a final paper of 15–20 pages.


ENL 6216

Studies in Middle English: Chaucer’s Canterbury Tales and the Allegories

James Paxson

Jorge Luis Borges once said that Western literature passed from the phase of allegory to the phase of the novel with one isolated phrase found in The Knight’s Tale: “Ther saugh I...The smylere with the knyf under the cloke.” We will study about a dozen of the Canterbury Tales and the long allegorical poems of Chaucer (The House of Fame, Parliament of Fowls, Book of the Duchess, and Legend of Good Women) in order to get at this portentous claim. We must ask: how does Chaucer serve literary-historical pictures about the emergence of literary modernity as well as the survival of archaic allegory? Working with Chaucer’s Middle English, we’ll take a general overview of his main writings in the context of some of the important achievements in literary theory and Chaucer studies (emphasis on critics including Robert Jordan, Robert O. Payne, Carolyn Dinshaw, Lee Patterson, Louise O. Fradenburg, et al.). Our study of Chaucerian character, psychology, and mythography will thus interanimate understanding of major theoretical platforms (semiotics, psychoanalysis, historicism, deconstruction) in modern English studies. Weekly reports, oral presentation, and two papers. Main text will be The Riverside Chaucer, Larry Benson, ed.


ENL 6246

Jane Austen and the Culture of Romanticism

Judith W. Page

The principle object . . . was to chuse incidents and situations from common life, and . . .to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual way . . .

– William Wordsworth, Preface to Lyrical Ballads (1800)

Also read again, and for the third time at least, Miss Austen’s very finely written novel of Pride and Prejudice. That young lady had a talent for describing the involvements and feelings and characters of ordinary life, which is to me the most wonderful I ever met with. The Big Bow-wow strain I can do myself like any now going; but the exquisite touch, which renders ordinary commonplace things and characters interesting, from the truth of the description and sentiment, is denied to me.

– Sir Walter Scott (journal entry, March 14,1826)

You are very, very kind in your hints as to the sort of Composition which might recommend me at present, & I am fully sensible that an Historical Romance . . . might be much more to the purpose of Profit or Popularity, than such pictures of domestic Life in the Country Villages as I deal in – but I could no more write a Romance than an Epic Poem. – I could not sit seriously down to write a serious Romance under any other motive than to save my Life; & if it were indispensable for me to keep it up & never relax into laughing at myself or other people, I am sure I should be hung before I had finished the first Chapter.

– Jane Austen (letter to James Stanier Clarke, April 1,1816)

Do not be angry with me for beginning another Letter to you. I have read the Corsair, mended my petticoat, & have nothing else to do.

– Jane Austen (letter to Cassandra Austen, March 5, 1814)

Jane Austen lived from 1775 until 1817, but her critics and readers have not always placed her at home during these revolutionary times. Nor have they always recognized the powerful ways that she engages her world as she creates her own version of “ordinary life.” This course will focus on Austen’s writing (including juvenilia, letters, published novels, and uncompleted texts) in the context of the literature, culture, and politics of Romanticism. We will study Austen’s relationship to other women writers of the period, including Ann Radcliffe, Charlotte Smith, Maria Edgeworth, and Mary Wollstonecraft, as well as parallels to such contemporaries as William Wordsworth, S.T. Coleridge, and Lord Byron. We will also discuss several recent film adaptations of Austen’s fiction, considering the ways that such films re-imagine the past (including the vision of the English countryside) that Austen’s novels represent. In addition to selections from critics and theorists on Austen and Romanticism, we will read selected contemporary film criticism of the Austen adaptations.

Readings (subject to some change):

Students will write one report on one of Austen’s contemporaries and a 20-page seminar paper written in stages (proposal, mock conference paper, completed paper).


ENL 6256

Theorizing the Fin de Siècle: Images of Late-Victorian Mythologies

Christopher Snodgrass

For a long time now, literary/cultural criticism has accepted the established proposition that cultural paradigms and the social “narratives” supporting them are constructions of a particular historical moment, not natural laws. It is therefore intriguing whenever modern criticism clings to rather fixed ideological representations of distant historical periods, even as it ostensibly identifies a period’s paradigms and gender politics as evolving cultural constructions. Some of the more striking examples of this kind of blind spot in Victorian studies revolve around the fin de siècle. This course will focus on a broad cross-section of noteworthy texts, both written and visual, from that key strain of the 1890s routinely referred to as the “Decadence” and investigate the cultural assumptions underlying a few late-nineteenth-century “mythologies.” It will not be our focus to explain why certain prejudices about the late-Victorian era have resisted normal revisionism, but along the way you may be able to draw some conclusions about that.

We will be reading from a few critical discussions of the Victorian fin de siècle and its key paradigmatic cultural ideas from both contemporary and present-day commentators, as well as some commentaries touching on concepts of the grotesque, in order to examine how the cultural paradigms they reference were embedded in a large number of Victorian poems, short fiction, plays, and visual images. The visual images that bombarded the late-Victorian period will be considered as texts equal in interest to written texts.

We’ll be surveying a broad range of individual works by both familiar and relatively unfamiliar (“non-canonical”) figures. Among the specific figures we’ll study are John Ruskin; Walter Pater; French writers Théophile Gautier and Charles Baudelaire; “decadent” icons Oscar Wilde and Aubrey Beardsley; the poet, fiction writer, and premier critic Arthur Symons; J. M. Whistler; Max Beerbohm; the iconic lyric poet Ernest Dowson; poet Olive Custance (wife of the notorious Alfred Douglas); poet Mathilda Blind (who endowed Newnham College, Cambridge); fiction writers Henry Harland (literary editor of the notorious Yellow Book) and Hubert Crackanthrope; acclaimed poets Lionel Johnson and John Gray; “decadent” eccentrics Eric Stenbock, Baron Corvo, and Alfred Douglas; the New Woman fiction writer Ella D’Arcy; fiction writer and essayist Vernon Lee (Violet Paget); feminist poet Graham R. Tomson (Rosamund Marriott-Watson); poet and playwright Michael Field (pseudonym for lesbian aunt-and-niece collaborators); novelist John Oliver Hobbes (Pearl Craigie), of course, scores of Victorian painters.

The course will try specifically to organize your efforts toward producing a publishable professional article. Approximately 50% of the final grade will depend on the term paper and the supporting bibliographical work and scholarship. The other 50% will be based on the quality of weekly reading notes and the degree of preparation for and participation in the discussions of the scheduled course material. While most of the weekly assignments do not explicitly include critical theory – and a sophisticated knowledge of literary theory is in no way a prerequisite – you will be encouraged to employ whatever theoretical perspectives you know to help illuminate the issues under study.


ENL 6276

Joyce & Cultural Studies

R. Brandon Kershner

The course will be an introduction both to James Joyce and to the broad field of cultural studies, using Joyce’s fiction as examples of literary texts with particularly rich cultural resonance – both representationally and as artifacts themselves. We will read Ulysses in conjunction with Simon During’s Cultural Studies Reader, 2nd edition. Our emphases will include the areas of

Although the course obviously will engage with theory, the stress will be upon specific implications of the literary texts rather than upon the theory in and for itself. As an aid in reading Hans Walter Gabler’s edition of Ulysses, we will use Harry Blamires’s guide to that novel entitled The New Bloomsday Book. I may bring in copies of newspapers and advertisements of the time as well as some examples of the popular reading to which Joyce alludes, show slides of Eugen Sandow the bodybuilder and memorial photography of children, and discuss other examples of material culture from turn-of-the-century Ireland. Since I am involved in the production of a hypertext Ulysses, we may discuss aspects of that project throughout the course, as it relates to issues raised by cultural studies. All books are at Goerings’ Books and Bagels.

Requirements: A paper incorporating literary-critical research, 12–18 pages long. About three or four quizzes – very simple ones – to make sure we’re all keeping up with the reading. Your class participation will be very important.


LAE 6947

Writing Theories & Practices

Raúl Sánchez

This course offers historical, cultural, and theoretical perspectives on writing instruction in higher education, the better for you to place your own teaching in a context. Our journey will begin in the 19th century, perhaps sooner. Expect much reading and writing along the way.


LIT 6236

Empire & Gender: The U.S. Experience

Malini Johar Schueller

Taking imperialism as central to the construction of the United States’ national imaginary, this course will raise a number of questions about the intersection of empire and gender. How is the language of empire gendered? How does gender structure metaphors such as the frontier? How are representations of colonized spaces and racial others invested with discourses of gender? How does the captivity narrative persist in the narrative of contemporary imperialism? How do imperial policies intersect with specific notions of masculinity and femininity as well as with discourses of race? We will focus on specific sites of U.S. imperialism such as Hawai’i, Mexico, the Philippines, Vietnam and Iraq, and examine the literary and cultural texts that emerge from those sites. Although the specific focus of the course is on US imperialism, the discussions should help us in thinking broadly about the ways in which imperialism and gender identities are intimately related. We will read works by theorists such as Edward Said, Ann Laura Stoler, Anne McClintock, Leila Ahmed, Zillah Eisenstein and Judith Butler. I’m not sure exactly which texts I will use but some probable ones are Susanna Rowson’s Slaves in Algiers, Herman Melville’s Typee, Lois Ann Yamanaka’s Blu’s Hanging, Carlos Bulosan’s The Cry and the Dedication, Chris Abani’s Graceland, Norman Taurog’s Blue Hawai’i, Rambo, First Blood as well as popular and political writings about the Philippines, Hawai’i, and Iraq post 9/11.

Requirements: One or two oral presentations, eight short response papers, final seminar paper.


LIT 6236

Caribbean Culture & U.S. Imperialism

Leah Rosenberg

In the Twentieth Century, Caribbean culture has had a surprising visibility and influence in the United States, Canada, Europe, and Africa. Trinidadian calypso, for instance, was in vogue in the U.S. and in England in the 1940s and 1950s; since the 1950s many genres of Cuban music from Conga to Salsa and more recently Jamaican reggae and dancehall have influenced musicians across the Atlantic world. Caribbean religions such as Vodou, Santeria, and Rastafarianism, have influenced culture far beyond the Caribbean, and Caribbean authors such as Claude McKay, Alejo Carpentier, and Edwidge Danticat have not only established a powerful regional tradition, but they have also made significant contributions to national literatures outside the Caribbean, in Britain, France, Canada, and the United States.

An investigation of the relationship between political change and culture, this course examines the hypothesis that political transformations in the Caribbean have contributed to the prominence and shape of Caribbean culture in the twentieth century. We explore the influence of Caribbean culture, such as calypso and reggae, in North America and Britain as well as the influence of U.S. culture, military, and economic power on Caribbean culture in the Caribbean as well as the shape Caribbean culture has taken when incorporated into U.S. art and media. The course will focus on the following historical phenomena: the rise of nationalism in the anglophone Caribbean between the 1930s and 1960s; the revolutions in Cuba and Grenada; and the rise U.S. imperial power, particularly the U.S. Occupation of Haiti (1915–1934). It is grounded in historical and theoretical studies of U.S. imperialism and the Caribbean; it will likely include works by: Jean Price Mars, Jacques Roumain, Zora Neale Hurston, Eugene O’Neill, V.S. Naipaul, Alec Waugh, Alejo Carpentier, Christina Garcia, Gabriel Garcia Marquez, Merle Collins, Dionne Brand, Russell Banks, and Oonya Kempadoo as well as films and TV shows such as White Zombie, I Walked with a Zombie, I Love Lucy, and The Harder They Come.


LIT 6357

Neo-Soul or Post-Black? Contemporary Black Cultural Studies

Amy Ongiri

In 2001, curator Thelma Golden coined the term “post-black” in conversation with artist Glenn Ligon to refer to the work in “Freestyle,” the groundbreaking presentation of twenty-eight emerging African American artists at the Studio Museum in Harlem. Golden hoped the label would provide an explanatory model to understand emerging “artists who were adamant about not being labeled as ‘black’ artists, though their work was steeped, in fact deeply interested, in redefining complex notions of blackness.” While artists at the Studio Museum worked out the politics of Blackness for the new millennium through visual mediums, African American popular culture was deeply immersed in its attempt to reclaim a highly romanticized version of the Black sixties and seventies through the embrace of the “Neo-soul” movement. This course will explore the notion of Black culture deployed in various theoretical discourses, cultural practices and movements from academic discussions of critical race theory and minority discourse to the Black Arts movement and Afrocentrism. We will examine the political and cultural efficacy of “Blackness” as a marker as well as the resistance to the continuing reappearance of the spectre of Africanity in contemporary Euro-American culture. We will utilize the work of Fred Moten, Frantz Fanon, Mark Anthony Neal, Wahneema Lubiano, Homi Bhaba, Hortense Spillers, Elizabeth Alexander, Manthia Diawara, Paul Gilroy among others, as well as the films of Clair Denis, Charles Burnett, Haile Gerima, Julie Dash, Isaac Julien and Marlon Riggs.


LIT 6357

The World of Langston Hughes

Mark A. Reid

This course employs an interdisciplinary approach and seminar format that requires students to familiarize themselves with Langston Hughes' literary work as well as the socio-political atmosphere that were the subjects of some of his writings. Discussion topics include the Harlem Renaissance, African American drama, the blues tradition in poetry, and the international sociopolitical climate in which Hughes lived. In discussing the literary work and political life of Langston Hughes, the seminar participants will critically assess how Hughes fared as an American writer and social critic.

Required Texts: : Orange & Blue Textbooks 309 NW 13th St. Tel. 375-2707

Texts On Reserve In Smathers Library (Library West)
* PDF Files: available at ARES on the Smathers Library Course Reserve webpage

Course Requirements


LIT 6856

Into the Archive: Reading in the Baldwin

Kenneth Kidd

This seminar has a dual focus and will be structured accordingly. First, everyone will develop one or more archival projects in the Baldwin Historical Library of Children’s Literature, one of the most comprehensive such archives in the world. Rita Smith, the Curator of the Baldwin, will work with us closely and will participate in the seminar. Every other week, we will concentrate on those archival projects by looking at primary texts, presenting findings, and workshopping analytical work in progress. You’ll be expected to give regular oral and written reports on your research. The Baldwin is an extraordinary resource even for those not specializing in children’s literature, and one aim of the course is to encourage you to explore the collection. Second, we will read children’s literature scholarship and theoretical meditations on the archive, the collection, the canon, and the discipline of English studies. Every other week will be devoted primarily to such texts and their relevance to literary study past, present, and future. My hope is that the course will be both practical and theoretical, in ways that we can’t yet anticipate. Several students who participated in the previous version of this course (Fall 2004) have since published their research projects.

Some possible readings:

Class will be conducted as a seminar and a workshop. There will be several short writing assignments and a longer seminar paper (20–25 pp.); all assignments will be research-based and the longer paper must draw from theoretical as well as primary material.