Extended Descriptions-Graduate

Fall 2020

ENGL 610R: Composition Pedagogy (University Writing Directors)

English 610 introduces students to current rhetoric and composition theory and pedagogy, paying particular attention to how these ideas influence the teaching of college writing. In this class, students will explore principles and theories they already have experience with and will discover new concepts about writing and teaching writing. The goal of this class is to help students become an effective writing teacher committed to theoretically sophisticated, reflective, and professional teaching. 

ENGL 612R: History of Rhetoric: Rhetoric and Aesthetics (Greg Clark)

What we call “rhetoric”—the theory of communication intended to influence – is interwoven with “poetics,” the theory of aesthetic expression. The reality of communication practice is, more often than not, that those two motives are inseparable. Even the most strategic attempt at practical persuasion has aesthetic appeal, and even the purest form of poetry has rhetorical effect. In the 4th century BC, Aristotle wrote both a Rhetoric and a Poetics. In the 20th century, Kenneth Burke along with Susanne Langer developed a “new rhetoric”—that is, essentially, a rhetorical aesthetic. This course will explore rhetorical and aesthetic motives in landmark texts in order to develop an understanding of rhetoric as aesthetic expression as well as artistic expression as rhetoric. Readings will draw upon key texts in the canonical rhetorical tradition as well as important texts classified as “philosophy” to help students develop ways of understanding the “rhetorical” that enable invention and criticism in the multi-modal communication situation of the 21st century.

ENGL 616R: Research Rhetoric and Comp (Amy Williams)

This course explores how people ask questions and find answers in rhetoric and writing studies. What counts as a rhetorical artifact and how do critics approach those artifacts? What theories, assumptions, questions, and methods do scholars use to study writing? How, as rhetoric and writing scholars, do we move from curiosity to enlightenment? These are the questions we’ll ask and answer as we evaluate the assumptions, strengths, and limitations of various research methods. We’ll also design methods to answer our own research questions. This course will be of particular value to graduate students who want to teach writing for a living or who plan to pursue a PhD in rhetoric and composition.

ENGL 620R: Renaissance Devotional Lyric (Kim Johnson)

This course explores texts written in response to the religious, ecclesiological, and theological developments of the sixteenth and seventeenth centuries. In particular, it examines the poetry of the Reformation and Post-Reformation era as a site of theological renegotiation and subversion. We will place the work of major lyric authors in the context of Reformation-era controversies involving representation, selfhood, textuality, and materiality to understand how literary texts of the period both reflect and inform the theological culture of the Renaissance.

ENGL 622R: Literature and Victorian Design (Jamie Horrocks)

Studying literature in the time of Coronavirus means expecting the unexpected, changes that could alter your plans at any moment! What a wonderful time to be alive! That’s why the course I’d planned and originally described—coinciding with the INCS conference in SLC—has been magically transformed into a whole new class! The conference has been canceled, so that frees us up to talk about other interesting things, like nineteenth-century design. The shift from an agrarian to an industrial economy radically transformed Britain, requiring Victorians to re-think the made world, its processes and its artifacts. This semester, we’ll use a cultural studies approach to Victorian literature to study how Victorian writers thought about design and the design reform movement. What was good design, in nineteenth-century Britain? Were the design principles that writers believed could elevate the machine arts applicable to the urban environment? To green spaces? Could the wallpaper you select or the fabric you wear affect the moral discernment of the children you raise or the nations being raised up in colonial markets throughout the world? How should commodities be produced (should commodities be produced?), and what are the personal and political implications of certain materials, decorations, or forms? Is it possible to create a perfect machine, a perfect public space, or a perfect world? If so, what would it look like, who would it benefit, how much would it cost, and—importantly—would it offer a range of furniture options for the discriminating consumer? No Victorian writer is better at discussing disease, environmental pollution, housing, candlesticks, and carpets than Charles Dickens, so we’ll read some of his work, along with writing by John Ruskin, Henry Mayhew, Elizabeth Gaskell, William Morris, and more. We’ll supplement our Victorian readings with classic essays in design studies and design history, and students will be encouraged to apply the theory and criticism that we read to literature in their own fields of study for their final paper.

ENGL 628R: Culture of Climate Change (Jamin Rowan)

As we settle into life in the Anthropocene, a wide variety of writers and culture makers have responded to the emerging conditions of this new climactic period. Through course readings and independent research, we will have the opportunity to identify and analyze the narrative and formal patterns through which writers and other artists are making sense of the Anthropocene. We will also address the challenges that climate change poses to our conventional understandings of literary history and our traditional analytical approaches to literary study.

English 630R:  Adventures in Postmodern Identity Politics (Dan Muhlestein)

Although identity politics has been with us for the better part of forty years now, it continues to influence the study of literature—especially at the graduate level—in profound ways. This semester we’ll quickly review the emergence and development of five types of identity politics in specific (those based on race, class, gender, sexual orientation, and religion) and then consider in detail what happens to each of these five approaches to literature—and to life generally—as we continue to move through the 21st century.


So although we’ll begin with some of the old standbys you’ve probably already read in 251 and/or 452 (Morrison, Fanon, Said, Rich, Sedgwick, and the like), by the time we’re done, we’ll have also spent time getting to know such contemporary writers as Slavoj Žižek, Richard Rodriguez, Judith Butler, Lori Branch, and Jack/Judith Halberstam.


We’ll frame at least part of our reading in terms of what seems to me to be a particularly relevant question today:  In an age that has rejected most versions of essentialism and that assumes—almost as a matter of course—that our individual senses of identity are constructed for us by various institutions and mechanisms and positions within society, what exactly does it mean to say, “Here is who I am; this is my identity”?


We’ll consider questions like that from a variety of perspectives, ranging from border theory to an analysis of the male gaze to queer theory to emerging postsecular approaches to the humanities.  We can’t cover every category within postmodern identity politics, of course.  But we’ll do what we can.  And at strategic moments during the semester, we’ll ask what all this means with respect to our own faith traditions (our goal in doing so will be to use the best insights made available through identity politics to help us grow in both our humanity and our faith).


The full title of the class is “Adventures in Postmodern Identity Politics:  Race, Class, Gender, Religion, and Sexual Orientation in the age of Žižek, Gender Trouble, and Gaga Feminism.”  I hope you enjoy the class and find considerable food for thought in it.

ENGL 640R: Fairy Tales and Allied Forms (Jill Rudy)

For decades parents, educators, politicians, and producers have been concerned about how the stories we tell and the media we consume may determine individual values and social behaviors.  Discomfort, if not alarm, about media influence, and intermedial fairy tales, instigates our conversation.  We will study what the fairy tale and other traditional narratives such as myth and legend do for the people who share them. What we seek to learn speaks to current concerns about the relevance of literature and the humanities in contemporary society; why people retell and adapt certain stories; how and why people care about fictional characters, and who owns these wonder tales.  Fairy tales themselves are full of power relationships, influential action, and choices even though it seems that the fairy tale is prone to inevitability (things happen three times, or the protagonist will do what he or she is forbidden to do).  Folklore studies tradition, the artful expression we repeat and vary over time and space that shares knowledge and creates and maintains groups.  Traditional narratives are a particularly powerful form because of the ways people and stories call out to each other through every available communicative means for entertainment and instruction. 

ENGL 667R: Nonfiction Workshop (Patrick Madden)

This class will read deeply in the history of the essay, its theory, and its contemporary manifestations, including interactions with visiting writers. Primarily, we will share three workshop pieces and provide each other with earnest, invested feedback, then revise our work and submit it for publication.

ENGL 668R: Fiction Workshop (Steve Tuttle)

In this writing workshop, we will make a close reading of multiple models of contemporary fiction together with theoretical texts that will help us, collectively and individually, to better understand the discipline and craft of fiction writing. Students will submit at least three pieces of writing for workshop discussions and several less-formal writing assignments.

ENGL 669R: Poetry Workshop (Michael Lavers)

This course will be a series of deep and extended dives into some of the greatest poets ever, such as Shakespeare, Marvell, Keats, Dickinson, Eliot, Rilke, Yeats, Czeslaw Milosz, and Zbigniew Herbert. We’ll read widely through each poet’s oeuvre, asking ourselves what their greatest poems are, and why. Writing assignments will be inspired by our readings. The final project will be a revision portfolio of all the poems written during the semester, workshopped once more as a group of poems by the class.

Winter 2021

ENGL 621R: The Daring Muse: Eighteenth-Century Women’s Poetry and Literary History (Billy Hall)

The primary draw for this course on eighteenth-century British poetry written by women are the poems themselves. The poetry of Anne Finch, Mary Montagu, Sara Dixon, Mary Leapor and many more is by turns hilarious and tragic; at times deeply personal and others furiously engaged in public debate, it leaves deep and lasting impressions on nearly any student of literature. We will add to this bounty of literary riches analytical frameworks rooted in literary history, but self-aware and flexible enough to accommodate students with varied critical interests. Anchored in the poetry, students will explore current and emerging approaches to the practice of literary history (feminist literary historiography, historical poetics, computer-assisted text analysis, and more) with an eye to developing facility in the approach that most resonates with their own interpretive and conceptual inclinations. On the one hand narrow and the other broad, the two main goals for the course are to deepen our understanding and appreciation of eighteenth-century poetry, and to reflect on the assumptions that underpin various approaches to writing literary history.

ENGL 622: Law and Contemporary British and Anglophone Literatures (Peter Leman)

In this seminar, we will examine contemporary British and Anglophone literatures in relationship to the field of Law and Literature. This field has been notoriously heterogeneous throughout its (relatively recent) history, with scholars positing a variety of configurations for relating the two disciplines: e.g., law as literature, law in literature, literature in law, literature as law, law and rhetoric, law and hermeneutics, etc. Though touching on some of the most important of these methods, we will draw heavily upon the late legal scholar Robert Cover’s insight that the law depends upon a deep structure of cultural narratives for its meaning. In thinking through the implications of this claim, we will read cultural narratives by Samuel Beckett, George Orwell, Michael Ondaatje, Margaret Atwood, Brian Friel, Polly Stenham, and others, and consider how their works might be understood in relationship to privacy law, torts, emergency law, international law, constitutional history, and more. 

626R: American Literature Before 1860: Crisis and Catastrophe in Early America (Mary Eyring)

In this graduate seminar, we will analyze the literature that represents conditions of crisis and catastrophe in America before 1860. The course will be divided into five units, each covering a set of circumstances that put pressure on the cultures, ecologies, religious practices, or political systems of the American Northeast: Settlement, Heresy, Homelessness, Revolution, and Prosperity. In these units, we will consider the crises settler colonialism posed to the environment and peoples of the Northeast; the existential threats the Antinomian Controversy and the witch hunts posed to Puritan life in New England; the military campaigns, accidents, and environmental forces that made many early Americans homeless in the seventeenth century; the spirit of revolution that swept the seas and then the land masses constituting early America; and the literature and cultural practices that grew up in the wake of revolution and in conditions of relative calm and prosperity in the new United States. We will read a variety of genres, and our study of these texts will combine close reading with the theoretical approaches of ecocriticism, post-secular studies, Black and Indigenous American studies, post-continental American studies, and book history.

ENGL 627R: Literary New York and Aesthetic Modernity (Edward Cutler)

This seminar features New York City as a vital capital of literary and cultural modernity in the latter decades of the 19th century. We will consider major New York writers–Walt Whitman, Henry James, and Edith Wharton–and discuss how the uniqueness of modern life in America’s rapidly transforming metropolis, in turn, shapes America’s contribution to an emergent modernist aesthetic. Beyond broadening your awareness of this urban literary-historical context, our seminar will consider theoretical ways to approach the cultural history of capitalist modernity. How does urban experience both intensify social class divisions and open new ways of freely exploring and imagining identity? How do new technologies of production and representation (photography, panorama, voice recording, motion pictures) pressure the conventional visual and literary arts? What, in particular, can the outmoded, discarded, or obsolete ephemera—for instance a short-lived design style like Art Nouveau–reveal to us now, in ways not discernible then, something of the latent dreams and desires of humanity? To pursue such questions, we will consider two influential studies of nineteenth-century capitalism and its discontents: Walter Benjamin’s The Arcades Project and Thorstein Veblen’s Theory of the Leisure Class. Our consideration of these evocative critical and aesthetic materials will strengthen you in your own creative processes and provide texture for your independent conceptual investigations of literature.

ENGL 630R: What Is the Song Saying? Music and/as Theory (Sharon Harris)

This course takes music and its texts as serious and dialogic modes of discourse and theorizing. Throughout the course, we will return to questions such as these: What is lost or gained when words are conveyed in a musical medium or vice versa? How do words and music communicate, both separately and together? Why, in a specific instance, might an author turn to music or a composer turn to words? What does it look like to interpret music and the texts that are a part of it? What are the differences between reading and hearing? What is meaning in music and in texts? What is the song saying? And, consequently, what are we saying?

ENGL 668R: Graduate Fiction Workshop (Spencer Hyde)

What is a story cycle? What is a composite novel, and how is that different from a collage? When does a short story become a novella, and does such taxonomy matter? In this workshop, we will study numerous works of contemporary fiction coupled with theoretical texts. Students will submit at least three stories/chapters/experiments for workshop discussion, and write many smaller exercises in an attempt to understand the hybrid nature of form and function.

ENGL 669R: Poetry Workshop (Kimberly Johnson)

A writing workshop represents an opportunity to hear from disinterested persons about the communicative successes and failures of your work.  This course combines traditional workshop discussion of student poems with a larger discussion about the craft and theory of poetry writing.  We will frame that larger conversation by looking at key theoretical texts, exploring issues of craft, and discussing a number of poetry collections, identifying their poetic strategies and assessing the effects of those strategies, and considering the concept of the poetry book qua book—that is, as a coherent document with its own governing arguments.

Each week, we will seek to acknowledge the mutually constitutive labors of thinking, reading, and writing.  We will spend the first 30(-ish) minutes of class discussing a point of poetic theory or craft; the next 45(-ish) minutes discussing a single collection of poetry, and the remaining time workshopping student poems.

Fall 2021

ENGL 600: Introduction to Graduate Studies (Paul Westover)

ENGL 610: Composition Pedagogy (University Writing Directors)

ENGL 612R: History of Rhetoric (Nancy Christiansen)

ENGL 620R: Seminar in British Literature before 1660: The English Literary Renaissance and Modern Film (Brandie Siegfried)

In this course, students will read works by writers such as Edmund Spenser, Elizabeth I, William Shakespeare, Walter Raleigh, Margaret Cavendish, John Milton, and several other significant authors. Pertinent segments from the 1611 King James Bible will also be given close scrutiny. Several of these 16th– and 17th-century literary figures and their works became the focus of film adaptations in the 20th century, and this course will explore the religious, philosophical, and aesthetic aspects of Renaissance literature in relation to their modern film avatars. This course gives special attention to the concept of transposition: the replacement of verbal passages with visual analogues. However, the main focus of inquiry will be the role of imagination in completing the worlds created by literature and film, and the possibility of strengthening, expanding, and deepening our awareness of beauty in relation to these worlds.

ENGL 621R: Seminar in British Literature, 1660-1830: British Romantic Literature (Nicholas Mason)

ENGL 622R: Seminar in British Literature, 1830-Present: Woolf and Motherhood (Jarica Watts)

ENGL 628R: Memory, Nostalgia, and Trauma in Contemporary American Literature (Trent Hickman)

In recent years and in the wake of postmodernist inquiry, critical attention has turned anew not only to the study of how we represent the past but of memory itself–how it is formed, how it is transformed, and how it is deformed by nostalgia and trauma. Even as scholars refocus this discussion in newer terms to speak of the past, they still frequently find themselves concerned in many cases with the representations of the past and memory in its various forms, be they individual, familial, collective, national, environmental, or biological. Our course will familiarize you with some of the seminal theoretical texts on this return to studies of memory in its various forms, introduce you into some of the debates surrounding them, and finally ask you to identify how contemporary American literature incorporates representational strategies which speak to these concerns.

ENGL 629R: Poe and the World (Emron Esplin)

To claim that no other U.S. writer has had as much influence on world literature as Edgar Allan Poe is not to practice hyperbole. Variously proclaimed as a master of the macabre, the inventor of detective fiction, a precursor to science fiction, the inventor of the modern short story, and a dark poet-prophet, Poe’s figure casts multiple shadows on the world. In this course, we will study Poe’s influence on and affinities with writers from across the globe, and we will also analyze how the world has shaped the Poe that we know in the United States today. Our course readings will include a few of Poe’s poems and essays, a large portion of his short fiction, and various poetic and prose responses to Poe from France, England, Japan, Argentina, Brazil, and Uruguay. Our course material will focus on Poe the writer, but we will also approach the figure of Poe as a pop culture icon. Our discussions of the other writers in the course will examine their literary relationships with Poe, but we will also explore why each of these authors should be studied in their own right.

ENGL 630R: Theoretical Discourse

ENGL 667: (Pat Madden)

ENGL 669: Poetry Workshop (Lance Larsen)

In this workshop you’ll be writing at least nine poems, nine “small or large machine[s] made out of words” (WC Williams) whose purpose is to take off the top of the reader’s head and leave her so cold no fire will ever warm her (Dickinson). Whether we achieve this collectively remains to be seen,  but we’ll certainly put in the sweat equity. If the seminar is small, each person will workshop six or seven times; if it’s bursting at the seams, four times. In addition, we’ll systematically study half a dozen contemporary poetry collections, complete in-class prompts, and you’ll do a presentation, memorize a sonnet, send out new poems, and talk about your work using a portfolio of twenty carefully curated quotes by other writers. We’ll also meet together two or three times to discuss your progress, and you’ll complete a final portfolio and an analysis essay. Shantih Shantih Shantih

Winter 2022

ENGL 611R: Teaching Advanced Composition (University Writing Directors)

ENGL 613R: Rhetorical Theory and Criticism (Jon Balzotti)

ENGL 616R: Research Methods in Composition (Amy Williams)

ENGL 617R: (Pat Madden)

ENGL 620R: Seminar in British Literature before 1660: Medieval (Juliana Chapman)

ENGL 622R: Seminar in British Literature, 1830-Present: Victorian (Jamie Horrocks)

ENGL 626R: Witchcraft (Mary Eyring)

The early American witchcraft phenomenon has been studied as a manifestation of anxiety surrounding gender and sexuality in the Americas. Certainly it was. But in a much larger sense, witchcraft registered early Americans’ concerns about their relationship to the continent, the Atlantic world, and the globe. In small and often isolated settlements, European colonists in the Americas were in a perpetual posture of defense against anticipated attacks—on their bodies, homes, souls, children, institutions, customs—with no clear sense of the origins or implications of the threat. In this climate, everything in the world, visible and invisible, was suspect. During the most famous episodes in the history of early modern witchcraft, accusers blurred the lines between sinner and saint, stranger and friend, on terms that echoed their constantly shifting status on a globe in flux. Were they Europeans (transmitting centuries of repression and violence) or Americans (entangled with the native inhabitants of their continents and islands)? Witchcraft periodically threw the ongoing tensions of colonial expansion and governance into sharp relief. At stake in these trials was not only the fate of individuals, but also the role that science, spirituality, law, literature, cross-cultural cooperation, and individualism were to play on the dramatic theaters of the New World. In this course, we will trace the concerns of witchcraft in a variety of texts. Our seminar will begin with a study of the European bases upon which the early American witchcraft phenomenon rests, and we will study the animating anxieties as they were manifested, repressed, analyzed, and dramatized in other global contexts. Our sources will include the familiar and conventionally literary—histories, drama, short stories, a novel—as well as journals, letters, newspapers, and a film. 


ENGL 629: Contemporary African American Literature (Kristin Matthews)

ENGL 630R: Theoretical Discourse (Details TBA)

ENGL 667: The Personal Essay Large and Small (Joey Franklin)

How do you write an essay? or a book of essays? Or a six-volume mega-memoir? The same way you eat an elephant. One small bite at a time.  In this course we will study short-form nonfiction as both a stand-alone art, and as a building block for longer works. We will read collected flash-nonfiction and book-length projects that are built of smaller pieces. We will dissect the short form, use what we learn to create our own flash nonfiction, and combine what we create into larger cohesive manuscripts. We will review the contemporary flash nonfiction scene and see if we can come to our own theories of flash-nonfiction. We will workshop our manuscripts, revise like crazy, and submit our work to journals around the country.

ENGL 668: Fiction Workshop (Spencer Hyde)

ENGL 669: Poetry Workshop (Michael Lavers)

ENGL 670R: Young Adult Novel (Chris Crowe)

ENGL  670R is a workshop designed for graduate students who are working on a young adult novel. Students in this course should have read widely in YA literature (ENGL 420 is wonderful preparation).  The seminar will run on a workshop format, so it is essential that every student is prepared to work on a YA novel.  In late fall semester of 2021, every student enrolled in the course must submit a writing sample for me to review. We’ll then meet to discuss the sample and to discuss the individualized required reading to be completed prior to the start of the class in winter 2022.

Fall 2022

ENGL 628R: The Culture of Climate Change (Jamin Rowan)

As we settle into life in the Anthropocene, a wide variety of writers and culture makers have responded to the emerging conditions of this new climactic period. Through course readings and independent research, we will have the opportunity to identify and analyze the narrative and formal patterns through which writers and other artists are making sense of the Anthropocene. We will also address the challenges that climate change poses to our conventional understandings of literary history and our traditional analytical approaches to literary study.

Winter 2023

ENGL 626R: Antebellum Bestsellers (Mary Eyring)

From 1810-1860, Americans read in an unprecedented variety of genres. Still, risk-conscious publishers only printed what they thought would sell. Thus, titles geared toward particular audiences and with demonstrated market appeal dominated the print landscape. In this class, we’ll study titles that caught on with particular force among reformers, the religious, certain political groups, women, young adults, and the middle class. We’ll study a variety of novels—gothic, sentimental, serialized, political—as well as short stories, travelogues, Barbary captivity narratives, a memoir, and a play. We’ll complement these texts with criticism and scholarship that reflect elite and low-brow responses to these texts and register their influence in their moment and across the ages.


ENGL 630R: Religious and Regional Folklore: Latter-day Saints and the Mountain West (Eric Eliason)