Fall 2015 – Graduate Seminars
This workshop prepares job candidates as they apply for academic and other positions. We will discuss and explain the job-search process and prepare and workshop the many documents and other job-search materials necessary for a search, from cvs to writing samples. We will also review job lists to find jobs for which students will apply, will prepare for interviews and conduct mock interviews, and will prepare for campus visits. When students have campus visits scheduled in winter and spring, we will reconvene for mock campus talks.
This course supports GTFs who are teaching in the University of Oregon’s Composition Program for the first time. We will discuss ways to foster a good learning environment for your students, specific aspects of the Program’s pedagogy, and review Program and campus-wide resources for you and your students.
Prospective Composition GTFs who are currently enrolled in or have successfully completed ENG 611 spend one term
working with an experienced teacher in a section of WR121 or WR122. The apprenticeship is set up to complement the theoretical work in ENG 611 with practical experience for teaching WR121 or 122. Grading option is P/NP only.
This class will look at the cultural and literary significance of tales normally overlooked by modern scholarship: the legends, rumors, and scandals of the Middle Ages. These are the medieval equivalents of the National Enquirer or TV tabloid journalism, sensationalist and wildly popular. We will examine their relation to cultural anxieties, “effort after meaning,” and the love of a good story. Primary texts include chronicles, medieval biography, and tales of adventure and the supernatural, against the backdrop of more canonical works. Secondary literature will include scholarship on memes, folklore, the sociology of rumor, and the science of memory.
What is an archive? How might the form or contents of a nineteenth-century archive invent, challenge, or narrate knowledge of the past through a contemporary lens? How does memory intercede in archival recovery? What is paper, ink, or a material object to an archivist or an archive? And how has nineteenth-century literary culture deployed figurative or imagined archives to narrate history or knowledge making? This course will approach these questions from three angles. First, we’ll read selections from recent critical and theoretical works on the study and creation of archives. This material will help us to analyze the significance of archival architecture, content, provenance and cultural weight. Next, we’ll focus on the ways in which archival materials narrate, create and/or remediate knowledge and history. Finally, we’ll focus on the possibilities and limits of the digital archive’s role in transforming scholarship and academic culture in the twenty-first century.
Our aim in this course will be to study archival spaces, objects, and narratives (and depictions thereof) not as repositories of facts or fixed knowledge, but as contested sites of inquiry, disruption, silencing, and dissonance. We will also consider the intersection of archival knowledge-making and the public sphere. What does scholarly work on the nineteenth-century archive bring to public debates over cultural and educational institutions? How might archival scholarship grow through its collaborations with the public?
This seminar is designed to consider writings associated with the American Transcendentalist movement–by Ralph Waldo Emerson, Margaret Fuller, Henry Thoreau, and others–in the light of renewed debates concerning secularization and modernity. Our double aim will be to read these works of social reform, religious and cultural critique, and natural history in historical and contemporary frames. Before the end of Spring term, however, we will meet to discuss the course in more detail, assess our collective preparation and specific interests, and refine the seminar focus accordingly.
This seminar participates in the current reassessment of relations between aesthetic modernism and popular culture. The rise of “New Modernist studies” over the past twenty years, with its expansive historical orientation and interest in modernism’s original cultural contexts, has led to a serious re-examination of the nature and extent of modernism’s relations with and responses to the popular. Questioning both new critical views of modernism as a mode of radical formal experimentation detached from and superior to the crass productions of popular culture and postmodern views of modernism as a mode of neurotic fear and disgust in response to the feminized and feminizing productions of popular culture, this seminar studies works of popular culture produced during the modernist moment of the early twentieth century that innovate upon the popular genre conventions they also employ. The materials for the course include H. G. Wells’s War of the Worlds, short fiction and poetry by Dorothy Parker, Anita Loos’s Gentlemen Prefer Blondes, jazz by Louis Armstrong, Dashiell Hammett’s Red Harvest, the Marx Brothers’ Duck Soup, George Herriman’s comic strip, Krazy Kat, and Orson Welles’s Radio adaptation of The War of the Worlds. Short paper, oral presentation, annotated bibliography, and research paper.
This course provides a rigorous introduction to scholarly writing and speaking through the process of conceiving, researching, writing, and revising one long paper and presenting this work as a conference paper at the end of the term. We will also analyze, discuss, and workshop components of scholarly writing.
In this class, you will learn to identify, define, and apply the vocabulary used to describe and analyze the aesthetics of cinema (including film, television, and some new media). This class provides the foundational formal knowledge and vocabulary that anchor the analytical (ideological, historical, etc.) and/or production work that you may pursue as a media studies scholar. In addition, this course will include a pedagogical component; students will discuss practical skills like syllabus and lesson plan preparation and may contribute to some of the lesson modules taught in the ENG 260 Media Aesthetics classroom. Intended for students whose primary or secondary objects of study are cinematic.
Examines nature of scholarly inquiry, research questions, and techniques. Historic orientation with emphasis on ideological development of folkloristics from its beginnings to the present.