Department of English

400 Level Courses

400 -  Honors:  Postmodern Fiction
Professor Joseph Conte
TTh 9:30 -  10:50   (L)


This Honors seminar will be devoted to an investigation of the "politics of the unpresentable" in postmodern fiction.  The literary theorist Jean-François Lyotard has suggested that the postmodern writer is always searching for "new presentations, not in order to enjoy them but in order to impart a stronger sense of the unpresentable."  There are two repercussions of this search for the postmodern writer.  The first is an encounter with the "sublime," in which the author seeks to express that which is finally ineffable.  The second is the crisis of form, in which the old, "pleasing" (and commercially viable) forms of literary expression must be destroyed, and which must then be replaced with new forms that violate the consensus of taste.

In contrast to the philosophical-aesthetic position of Lyotard, the Marxist theorist Frederic Jameson suggests that the style of postmodernism is really nothing more than the hyperinflation of a consumer economy, the "logic of late capitalism."  Jameson perceives a "waning of affect," or a failure of political expression in postmodernism.  Too concerned with the delicious ironies of its own self-representation in the Age of Advertising, postmodern literature succumbs to a mild complicity with multinational corporatism.

We will begin the seminar by examining the strengths and weaknesses of these two critical positions, in a reading of relatively brief but important essays by Lyotard and Jameson.  But it is my interest in the course of the semester to suggest that there is a notable body of postmodern fiction that manages somehow to revel in the reflexivity of its own expression and simultaneously levy a pointed political critique.  Don DeLillo examines the relative power of the advertising image, Andy Warhol's pop art, and (literary) terrorism in Mao II.  In his monumental novel Underworld, on which we will spend two or three weeks, "the Don" considers America in the

throes of the Cold War, and then as the world's undisputed leader in post-consumer waste.  Kathy Acker's fiction is a "corrosive sublimate" of the patriarchy; we'll read two trans-gendered, plagiarized narratives, her "own" Don Quixote and a parody of Robert Louis Stevenson's Treasure Island, Pussy, King of the Pirates.  In his collection of short fiction, Girl With Curious Hair, David Foster Wallace careens from a pseudo-historical portrait of Lyndon Johnson to ironic renditions of late-night comedians and game-show hosts.  The pride of Buffalo, Ishmael Reed, offers his critique of Western literary forms and white politics in Mumbo Jumbo.  Art Spiegelman controversially renders his father's experience in the Nazi concentration camps in the popular form of the comic book.  And as time permits, there may be several uncontained exposures to William Burroughs's "word virus."

All students in the seminar will be expected to make a twenty-minute presentation on one work under discussion.  There will be two papers of six to eight pages in length, and a critical essay of fifteen pages in length.






Registration through the Undergraduate English Office,
303 Clemens Hall.

 

407 -  James Joyce
Professor Mark Shechner
Mondays 7:00 -  9:40
Reg. No.  297176



This is a reading course designed basically for the pleasure of reading our way through two of the major novels of James Joyce: A Portrait of the Artist as a Young Man and UlyssesUlysses especially is a long and difficult book in part, though always rewarding to the careful reader, and much of the time we'll just read it through, page by careful page, scene by scene.  I'll have some of you do reports and might well also assign a research paper, but in the main we will read and talk, read and talk, and I promise you won't be disappointed.  There will be a mid-semester paper for sure and a final exam as well, and perhaps selected research assignments for student who want to go farther with Joyce, as many of you will.

Books for the course are all on order at Talking Leaves Bookstore, 3158 Main Street, Phone 837-8554.

James Joyce: A Portrait of the Artist as a Young Man
James Joyce: Ulysses
Don Gifford: Notes for Joyce: Ulysses
Harry Blamires: The Bloomsday Book

Requirements for the course:

1.  Attendance.  Attendance is simply required, and I will take roll. To get anything out of a course that meets just once a week you have to be in it, and students who are not in it should not expect to make up for lost class time through exams or papers.  In a course that meets once a week, students who miss more than two classes for any reason will suffer an automatic lowering of grade.

2.  Regular reading.  We read and talk, read and talk, like the course description says, and if you haven't read, you can't talk, and if you can't talk you can't learn.  There is a certain amount of necessary note-taking during short lectures, but I am not a lecturer so much as I am a commentator, passing on fragments of what I know and understand, in exchange for the bits and pieces of what you know and understand.  This works well in very small classes, but can also be made to work in large classes.  Reading and talking will be the basis of what we do, and I'll continuously encourage all of you to be prepared and be active.

412 -  Edmund Spenser
Professor James Holstun
TTh 11:00 - 12:20
Reg. No.  423170   (E)



In this course, we will read the remarkable imaginative writing of Edmund Spenser, the greatest narrative poet in English between Chaucer and Milton and one of the greatest innovators in poetic form in all of English literature.  We will read selections from his letters and from his prose political tract, A View of the State of Ireland, and a selection of his shorter poetry, including parts of his sonnet sequence Amoretti; his wedding poem Epithalamion; selections from his pastoral eclogues, The Shepheardes Calendar; Colin Clouts Come Home Againe

But we will spend most of the semester reading all of the massive, magnificent, mesmerizing, and sometimes horrifying Faerie Queene: an allegorical chivalric epic about the life of the courtier, sexuality and gender identity, exploration and conquest, the struggle between Protestant and Roman Catholic Christianity, history and the apocalypse.  Along the way, we will encounter satanic dragons, enchanters, artifical maidens, transvestite knights (male and female), communist giants, gardens soaked with sex and death, all of them interwoven with a profound meditation on monarchy, justice, sexuality, class struggle, empire, and the transformative power of poetry.  We will also be reading some twentieth-century criticism about Spenser's art.

This is an advanced class.  Prerequisites: at least two other literature classes, or permission of the instructor.  You probably shouldn't try to add this class after the first week.  I expect you to show up for class on time, ready to try out some ideas about the reading assignment in class discussion.  Written assignments will include weekly reading quizzes and short essays, a midterm, a final, and a ten-page interpretive paper.  Course texts: Edmund Spenser's Poetry, Third Edition (Norton) and The Faerie Queene (Yale), both available at Talking Leaves Bookstore (3158 Main Street; 837-8554); and a book of readings and study guides, available at Queen City Imaging (3173 Main Street; 832-8100).

416 - Roots:  National Identity
Professor K. Dybel
TTh 9:30 - 10:50
Reg. No.  239109


Course description available from the Department of Modern Languages, 910 Clemens Hall.

441 -  Contemporary Cinema:  Horrors!
Professor Joan Copjec
Tuesdays 3:30 -  5:45
Thursdays 3:30 -  4:50
Reg. No.  478222


If cinema is, above all else, about the logic of looking, then horror haunts its very core.  For around every corner, outside every frame, lurks the possibility that we will see something horrible, something that will assault our eyes directly.  This is a course about ocular assault, about deformations of vision that humiliate the nakedness of the eye.  Yet we will pay vigilant attention to the fact that these attacks are launched by a particular sort of machine, a prosthetic device designed to enhance vision:  cinema.  Why does the technology of cinema turn against the very eye it was supposed to aid?  What do the monsters we see have to do with the technology through which we see them?

You will be asked to respond to these questions with more than a simple affective reaction:  shrieks, screams, moans are okay, but they are not enough to get you through the class.  There will be rigorous and heady reading assignments accompanying each week's screening.  You will be asked to think carefully about the technologies of reason whose invention is intimately responsible for creating the many horrors of reason you will witness.

Among the films we will screen and discuss, you can expect at least these:  Metropolis; Nosferatu; Dracula; La Jetee; Vampyr; Peeping Tom; Videodrome; Texas Chainsaw Massacre; Freaks.  And more.

Tuesday's class will consist of brief remarks and the screening of a film.  It will meet from approximately 3:30 - 5:30 p.m.; though the exact meeting time may be slightly less or more, depending on the length of the film shown that week.  Thursday's class will be devoted to a discussion of the film and the readings.

441 -  Contemporary Cinema
Professor Bruce Jackson
Tuesdays 7:00 -  9:40
Reg. No.  121517



The Buffalo Film Seminars are an ongoing experiment in talking about films.  Instead of having the class on the UB campus in a room populated by registered students and an instructor, we meet in the Market Arcade Film and Arts Center (a downtown Buffalo nonprofit movie theater), and the screenings and discussions are open to anyone who wants to join us.  Students registered in the class get in for free (you've already paid tuition--once is enough), and everyone else buys a regular movie ticket.  (The Market Arcade is easy to reach:  it's right at the Metrorail Theatre District stop, and there is free monitored parking opposite its Washington Street entrance.)

Our first basic assumption is that the experience of seeing a film on a big screen in the company of other people is radically different from seeing a videotape of that same film in a small room with a few or no other people.  It's not just a difference in size; it's a difference in quality.  In the theater and in the company of others, you see and sense things you don't see on a tv monitor, you feel things you don't feel when you're getting all the information from a tv monitor.  Our second basic assumption is that you can learn a good deal talking about a film you've just seen with a large group of interested people of varying ages, experience, and backgrounds.

Before each screening, Diane Christian and I provide a 3-5 page handout with info on the week's film (who played what role, the crew, previous credits for the key figures, comments from crew and critics, historical or generic information, references to books and articles in print and links to material on the web, etc.).  One function of the handout is to provide key leads or pieces of information we think might be useful to members of the audience later on; another is, we don't have to spend valuable discussion time dealing with questions on the order of, "Who was the guy who played…?" or "Didn't she also direct….?

Each week, we introduce the film, we watch it, we take a short break, and then we talk about it for 30-45 minutes with the UB students and whoever else wants to join us.  We limit the number of UB students to a maximum of 45.  Thus far in the spring 2001 series the total attendance at the screenings has

441 -  Contemporary Cinema  (continued)



run from  275 to 366, and a large portion of the non-student segment of the audience has stayed for the discussions.

Registered students have three assignments: the readings online and in a classbook Diane and I prepare, attendance at all screenings and discussions, and maintaining an ongoing notebook reflecting reactions to the films, the discussions, and the print and on-line readings. The notebooks will be collected and graded three times during the term.

We haven't picked the films for the fall 2001 series yet, but we'll follow the pattern we've followed thus far: terrific movies that exemplify a wide range of styles in acting, editing, narrative modes, subject matter, and whatever else.  These are the films in the spring and fall 2000 and spring 2001 seminars:

 

  • William Wellman, The Public Enemy, 1931
  • Lloyd Bacon, 42nd Street, 1933
  • Frank Capra, It Happened One Night , 1934
  • Leni Riefenstahl, Triumph of the Will , 1934
  • Sam Wood, A Night at the Opera, 1935
  • John Ford, The Grapes of Wrath, 1940
  • Billy Wilder, Double Indemnity, 1944
  • Jean Cocteau, Beauty and the Beast, 1946
  • Fred Zinnemann, High Noon, 1952
  • Elia Kazan, On the Waterfront , 1954
  • Orson Welles, Touch of Evil, 1958
  • Arthur Penn, Bonnie and Clyde, 1967
  • Martin Scorsese, Raging Bull, 1980
  • Jean Renoir, The Grand Illusion, 1937
  • Ernst Lubitsch, Ninotchka, 1939
  • Otto Preminger, Laura, 1944
  • Alfred Hitchcock, Notorious, 1946
  • Joseph Mankiewicz, All About Eve, 1950
  • Stanley Kubrick, Paths of Glory, 1957
  • Federico Fellini, La Dolce Vita, 1960
  • Mike Nichols, Who's Afraid of Virginia Woolf? 1966
  • John Schlesinger, Midnight Cowboy, 1969
  • Bob Fosse, All That Jazz, 1979
  • Connie Field, The Life and Times of Rosie the

468 -  Signs and Representations
Professor Elizabeth Grosz
MW 11:00 -  12:20
Reg. No.  182678


This course is designed to introduce students to many of the major theories and issues arising in contemporary critical theory, from the pioneering work of founders of structuralism - Ferdinand de Saussure, Charles Sanders Peirce and Claude Levi-Strauss - to the recent critiques of structuralism developed by post-structuralists like Roland Barthes, Michel Foucault, Jacques Derrida and Julia Kristeva.  It aims to present an overview of leading figures within twentieth century critical theory, and also a discussion of the major issues raised in this work:  according to what models and criteria can one adequately analyse cultural and social life?  Should theories of culture and society aspire to the ideals of the natural sciences (as sociology and psychology have tended to do) or should they emulate the models given by the social sciences, most notably linguistics (as anthropology, and some literary theory is inclined towards)?  Or are other criteria necessary?  If, for example, linguistics is taken to provide a model for cultural production, how adequately can it deal with non-linguistic production of the kind undertaken in the visual and performative arts?  What are the terms and theoretical methods available to and useful for the analysis of socio-cultural life?

The course itself will be divided into three parts:  in the first, basic concepts and pioneering theories will be introduced.  Here we will examine the work of
Saussure, Peirce, formalism and structuralism (Levi-Strauss, Piaget, Jakobson, Benveniste), their similarities and differences, and the debates their works have engendered.  In the second part, we will look at developments and refinements of their work, particularly in various analyses of social power:  among the figures analysed here are Roland Barthes and his analyses of bourgeois cultural life, Michel Foucault's understanding of social power and its investments in the production and control of discourses.  In the third part of the course, we will discuss poststructuralist critiques of structuralism, concentrating particularly on the work of the Derrideans, including a session on Kristeva, Cixous and the writing of otherness.

469 -  Body as Text in Modern Japan
Professor Margherita Long
TTh 12:30 -  1:50
Reg. No.  108918



This course explores how men and women in modern Japan have tried to understand the human body and its representation.  Is the body a passive surface?  Or can bodies themselves make meaning?  We will examine atomic bomb sickness, discrimination against the "untouchable" caste, maternity, hysteria, fashion, prostitution, animation, and computerization.  The texts are both visual and narrative:  woodblock prints, papercuts, ink drawings, stories, poems, novels, films, and anime.  Authors include Kuki Shuzo, Ooka Shohei, Nakagami Kenji and Murakami Haruki.  Artists include Utamaro, Takamura Chieko, and Okamoto Taro.  Films include Imamura Shôhei, Black Rain, Jim Jarmush, Ghost Dog Way of the Samurai, and Mamoru Oshii, Ghost in the Shell.  Grading is based on class participation, 5 one- or two-page papers, and a final 8-10 page paper.  No prior knowledge of Japan is required.  All texts are in translation.  This is a mid-level undergraduate course in small seminar format.  First- and second-year students are encouraged to participate!

471 -  The Greek Theater
Professor C. Higbie
MWF 12:00 -  12:50
Reg. No.  490513

Course description available from the Department of Classics, 338 MFAC.

485/585 - American Classics & Culture
Professor Robert Daly
Tuesdays 4:00 -  6:40
Reg. No.  179399


Unlike most of our other courses, this one will not be limited by period or genre.  We shall explore American classics, in their cultural contexts, from the Puritans to the Postmoderns.  We shall attend to the family resemblances of an American tradition in literature.  This tradition of recycling and revision includes and connects Mary Rowlandson, Susanna Haswell Rowson, Benjamin Franklin, Washington Irving, Catharine Maria Sedgwick, Nathaniel Hawthorne, Frederick Douglass, Henry James, Zitkala-Sa, Edith Wharton, Willa Cather, F. Scott Fitzgerald, Toni Morrison, Amy Tan, and N. Scott Momaday.  We shall consider what these texts mean in the conversations of their own times and what they may yet mean in ours.  Like Vergil, we shall try to bring the Muses home.

Texts:

 

  • Andrews, William L., ed. Classic American Autobiographies (Mentor, Penguin), contains Rowlandson, Franklin, Douglass, and Zitkala-Sa.
  • Rowson, Susanna Haswell.  Charlotte Temple.  Ed. Cathy Davidson (Oxford).
  • Irving, Washington.  The Sketch Book of Geoffrey Crayon, Gent.  (Signet).
  • Sedgwick, Catharine Maria.  Hope Leslie; or, Early Times in the Massachusetts (Rutgers UP).
  • Hawthorne, Nathaniel.  The Scarlet Letter.  3rd ed.  (Norton Critical Edition).
  • James, Henry.  The Turn of the Screw and Other Short Novels (Signet).
  • Cather, Willa.  My Antonia (Houghton Mifflin).
  • Fitzgerald, F. Scott.  The Great Gatsby (Scribner's).
  • Morrison, Toni.  Song of Solomon (New American Library).
  • Tan, Amy.  The Joy Luck Club (Ivy Books).
  • Momaday, N. Scott.  The Ancient Child:  A Novel (Harper Collins).

478 -  Three Kingdoms: A Novel in    Translation
Professor C. Tung
TTh 10:00 - 11:20
Reg. No.  233250



Course description available from the Department of Modern Languages, 910 Clemens Hall.

481 -  Polish Literature in Translation
Professor Czeslaw Prokopczyk
MWF 1:00 -  1:50
Reg. No.  350570



Course description available from the Department of Modern Languages, 910 Clemens Hall.

486/586 - Advanced Literacy
Professor Stefan Fleischer
Thursdays 4:00 - 6:40
Reg. No.  258000

This course is intended for those students pursuing an  M.A. in English, whose specific goal is to teach at the high school or junior high school level.  The course is also open to undergraduates who are thinking about the same kind of career.  Such undergraduates are encouraged to sign up.  The aim of the course:  provide grounding in theory and practice of teaching high school students to achieve an advanced literacy.  To me, the term "advanced literacy" suggests a well-developed ability to read critically, to analyze and interpret texts in a range of media, including literature (items in the traditional canon, as well as items "outside"), newspapers, journals of opinion, film and television narrative drama, advertising, and communications/information as disseminated in the medium of the internet.

But advanced literacy also requires a developing self-awareness, an understanding of the social, political, cultural matrix inevitably interweaving the student with the work under study.  It is the job of the teacher to develop a critical self-consciousness, to develop the student's awareness of his or her standpoint vis-à-vis the matter under study. We will try to map all this by means of topical survey and case study.

Some topics:
1).  The development of a '60s-'70s strain of idealistic, even Utopian pedagogy with a particular focus on the figures of Kenneth Koch, Wishes, Lies and Dreams (1970) and Rose, Where Did you Get That Red? (1973) Jonathan Kozol,  Death at an Early Age (1967), H. R. Kohl, The Open Classroom (1969).

An enlightening example of the pedagogy put into practice can be found on the website http://www.middlebury.edu/~publish/middmag/features/swope/swope.html.  Here Mr. Swope gives an extensive account of teaching Wallace Stevens's "13 Ways of Looking at a Blackbird" to a class of public middle school children, many of them recent immigrants, in a poor neighborhood in Queens, N.Y.

2). The impact of the "culture wars" of the last 20

3).  A critical study of the Educational Testing Service AP (Advanced Placement) English Literature program.  AP courses are intended to promote the highest standard of a well-developed literacy among high school students. Past tests are widely distributed and make for valuable, interesting, challenging case study material. There is no doubt that most high school AP English teachers "teach to the test." Last year, an astonishing number (189,000) of American high school seniors took the AP Literature exam and between 10% and 20% of these students scored high enough to be given Sophomore standing in English courses at most American universities. The critical questions are:  Is this a good thing? If so, why so?  If not, why not?

4).  Casebook study of an "easy" Shakespeare play (
Julius Caesar or Macbeth) and a "hard" play (Hamlet) frequently taught in high schools.

5).  A case study of structuralism/semiotics, with a particular focus on excerpts from Claude Levi-Strauss, Tristes Tropiques  (The Writing Lesson) and Roland Barthes, Mythologies.

The point  of  case study # 5 would be to see how such theoretical texts have applications in high school classes and in such assignments as watching specific television programs and reading specific magazine advertisements. Recent issues of Jane magazine, for example, provide rich resource material.

Requirements: a seminar presentation and an end of term paper.

Most readings will be on reserve.
Two texts should be purchased: Terry Eagleton, Literary Theory  (2nd edition), Minnesota, 1996.
Robert Scholes: Textual Power: Literary Theory and the Teaching of English (paperback) Yale University Press, 1986.

487/587 -  Advanced Composition
  (Non-Fiction)
Professor Mark Shechner
Wednesdays 4:00 - 6:40
Reg. No.  048880

This course, which is dual-listed for students at both the senior level and graduate MA-level, is designed to get students beyond the basic routines of composition and the jargons and codes of "lit-crit" in their writing.   Thus it is ideal for students who envision journalism as a career or as an active supplement to an academic career.  It takes "composition" and your capacity for clarity and organization for granted and moves on to the next step: being interesting.

The course will permit you to think about and work on matters of  voice and style.  A writer of any kind who wishes to make headway with his/her writing must have a voice, a distinctive signature that is his or hers alone.  You'll spend a lot of time learning how not to sound like a generic, Brand X clone of some other unfortunate Brand X clone. (Voice is defined in a novel by Philip Roth as "something that starts from down behind your knees and ends up above your head."  True, but you still have to work at it.)   We'll spend a lot of time on resource building:  Where do words come from?  Where do phrases come from?  What is a sentence rhythm and how can I develop it?  How do arguments really work?  How many drafts of an essay or review do I have to write before it is any good?  (I'd say ten if it is not important, twenty if it really matters.)

I'll ask every student to find and adopt a master stylist and apprentice him/herself to that master.  Apprenticeship and a degree of mimicry are key to writing well.  Your own voice begins in the shadow of another's voice.

Among the many requirements of good writing is to really know something, know it down to its depths, and each student will work on a semester-long project that would be potentially, maybe even actually, publishable at the end of the semester.

Since the class will be writing and reading-intensive, I shall limit it to 22 students, ideally balanced between eleven undergraduates and eleven graduates, and a decision will be made at the end of the first week of class on the basis of a sample of writing you submit on the first day.  I'm looking for students who already can write and are serious about practicing and polishing that skill.

Requirements:

1.  A sample of earlier writing to be submitted on the first day of class.  Ideal length, 7-15 pages.

2. Regular attendance:  Attendance is simply required, and I will take roll.  To get anything out of a course that meets just once a week you have to be in it, and students who are not in it should not expect to make up for lost class time through exams or papers.  In a course that meets once a week, students who miss more than two classes for any reason will suffer an automatic lowering of grade.

3. Two books: a thesaurus and a portable dictionary.  They are indispensable tools, and I'll have a number ordered for the course through Talking Leaves Book Store at 3158 Main Street.

496 -  Film History
Staff
MW 9:00 -  10:50
Reg. No.  092044



Course description available from the Department of Media Study, 231Center for the Arts.

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