Graduate Courses

AML 5017
Studies in U.S. Literature to 1875: Gender and Romance in the Early American Novel
Dennis Moore WMS 416 dmoore@fsu.edu

Yep, there's currently a renaissance underway focusing on early American literature and history. In that context, and in synch with growing attention to the history of the book, we'll explore the growth of prose fiction in the century or so preceding the so-called American Renaissance of the early 1850s. We'll read Jürgen Habermas's Structural Transformation of the Public Sphere and Cathy Davidson's brilliantly expanded edition of Revolution and the Word: The Rise of the Novel in America, as well as such early examples as The Power of Sympathy, Charlotte Temple, The Coquette and one of Charles Brockden Brown's titles from the end of the 1790s, the wild Wieland, working our way toward Hope Leslie. We'll see what all the fuss was about, in Hawthorne's prefaces, about distinctions between novel and romance. In preparation for writing a 15-page research paper, each student will prepare an annotated bib, then a prospectus, then a full draft; there'll be no mid-term, then, but we'll close with a take-home exam. Meanwhile, for background on that renaissance in scholarship on early American culture, get yourself to https://theasa.net/communities/caucuses/early-american-matters-caucus and to www.societyofearlyamericanists.org.

Requirements: This course fulfills the general literature requirement for one course pre-1800. It also satisfies the requirement for coursework in the following Area of Concentration: American Literary and Cultural Studies to 1900; Feminism, Gender, and Sexuality Studies; Colonial, Postcolonial, and Transnational Literary and Cultural Studies; and Literary Genre (fiction). It also fulfills the Alterity Requirement.

AML 5027
STDY US LIT SNC 1875: The Segregation Narrative
Trinyan Mariano WMS 323 tmariano@fsu.edu

Racial segregation has been called the “structural lynchpin” of inequality in the United States and challenged as a “badge” through which slavery extends its long shadow over social, economic, political, and cultural outcomes. Despite this influence, inadequate formal attention has been given to the literature that attempts to represent and theorize the experience of segregation. In this course, we will study late 19th and 20th century segregation narratives and attempt to discover whether there are formal and thematic principles that unite them into a coherent body.

Among the segregation narrative’s recurring themes are: the demarcation of racial categories; “whiteness” and the new south; legal and extra-legal mechanisms of enforcement, including miscegenation laws and lynching; the impact of segregation on domesticity and relationships of family and kinship; discourses of segregation and criminality; the construction of the American ghetto; white and black nationalisms; and shifting notions of personality and citizenship.

While our initial and primary focus will be on “white studies” and African-American literature, in the semester’s final weeks, we will branch out to explore the segregation narrative in Native American and Japanese-American literatures.

Course work consists of intensive reading and consistent class participation, a few short response papers, leading a class discussion, and a culminating research project including a formal paper proposal with abstract and annotated bibliography.

Requirements: This course fulfills the general literature requirement for one course in 1660-1900. This course also satisfies the requirement for coursework in: American Literary and Cultural Studies to 1900 or Post-1900 Literary and Cultural Studies; African-American Literary and Cultural Studies; Alterity; a Literary Genre (fiction).

AML 5608
Study in the African American Literary Tradition : Awarding Contemporary African American Literature
Alisha Gaines WMS 228 amgaines@fsu.edu

In 2017, Jesmyn Ward received her second National Book Award for her third novel, Sing, Unburied, Sing. In 2016, Paul Beatty won the UK’s Man-Booker Prize for The Sellout, and in 2017, Colson Whitehead’s The Underground Railroad was longlisted for that same prize and then won the Pulitzer Prize in Fiction and the National Book Award. This course investigates contemporary African American literature through the canon-making accolades of prestigious national and international literary prizes. We will read a variety of contemporary texts from recent National Book Award winners in Nonfiction, Ibram Kendi’s Stamped from the Beginning and Ta-Nehisi Coates’s Between the World and Me, and in Poetry, Robin Coste Lewis’s Voyage of the Sable Venus, among others. How do we understand contemporary African American literature via this widespread acclaim? How do we account for this turn, one honoring African American literature and studies, at a time when we have to keep insisting that black lives matter? What does our understanding of the African American literary tradition stand to gain or lose by looking at these newly anointed texts?

Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: African-American Literature; Post-1900 Literature and Culture. This course also meets the Alterity requirement.

AML 5637
Studies in Latinx Literature: Transdisciplinary Approaches in Latinx Studies
John Ribó WMS 442 jribo@fsu.edu

As transdisciplinary praxis, Latinx Studies holistically blends a variety of methodological and theoretical approaches to analyze literatures, cultures, and experiences of or related to U.S. Latinxs. By examining how scholars such as Gloria Anzaldúa, Juan Flores, Emma Pérez, and José Esteban Muñoz, amongst others, blend third world feminism, cultural studies, queer theory, new historicism, performance studies, decolonial theory, visual studies, and psychoanalysis, students will explore Latinx Studies as a lens through which to develop their own unique critical approaches to personalized, semester-long projects. Assignments include proposing a project abstract, leading class discussion, presenting a conference talk, and submitting advanced drafts of a scholarly project.

Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Post-1900 Literature and Culture; and Colonial, Postcolonial, and Transnational Literary and Cultural Studies. This course also meets the Alterity requirement.

Successful completion of this course satisfies three credit hours of the academic requirement for the Certificate in Editing and Publishing. If a student has already met the academic requirement, the course can count for additional credits toward the 12-hour Certificate.

CRW 5130
Graduate Fiction Workshop
Virgilio Suarez WMS 452 vsuarez@fsu.edu

We will focus on YOUR short fiction (no more than two short stories for the semester) and you are expected to bring hard copies to distribute in class. Also, we will have warm up discussions on contemporary world and American short fiction. Your attendance is appreciated and expected and also your contributions to your classmates work will make a huge difference.

Requirements: Successful completion of this course satisfies three credit hours of the academic requirement for the Certificate in Editing and Publishing. If a student has already met the academic requirement, the course can count for additional credits toward the 12-hour Certificate.

CRW 5130
Graduate Fiction Workshop
Elizabeth Stuckey-French WMS 226 estuckey-french@fsu.edu

Each student will have pieces workshopped by the entire class: short stories or novel chapters. You can either submit two drafts and a revision of one, or three new drafts. If you want to submit a longer piece (up to 100 pages) you can do it in three separate sessions. In addition, each student will choose a story or novel chapter, provide copies to your classmates and me, and do a presentation on it in class. The presentation involves creating a handout which includes an writing exercise.

In this class we will explore some of the subtleties of the craft of fiction writing. What risks do successful fiction writers take and how can we learn from them? What new risks might you take in your own fiction? How can you make your fiction as dramatic, intense, engaging (and publishable) as possible? Our goal is the creation of a community of writers who can learn from and help each other. Courage, honesty and dedication are expected.

Requirements: Successful completion of this course satisfies three credit hours of the academic requirement for the Certificate in Editing and Publishing. If a student has already met the academic requirement, the course can count for additional credits toward the 12-hour Certificate.

CRW 5331
Poetry Workshop
David Kirby WMS 420 dkirby@fsu.edu

Requirements include weekly poems, faithful attendance and discussion, conferences, craft lessons, and a final portfolio. Craft lessons will be drawn from the following books: Yolanda Franklin, Blood Vinyls (ISBN 9781934695579); Rebecca Hazelton, Fair Copy (ISBN 9780814251850); Stephen Mills, A History of the Unmarried (ISBN 9781937420796); and Josephine Yu, Prayer Book of the Anxious (ISBN 9781932418583). Students are advised to order these books now and become familiar with them over the summer.

Requirements: Successful completion of this course satisfies three credit hours of the academic requirement for the Certificate in Editing and Publishing. If a student has already met the academic requirement, the course can count for additional credits toward the 12-hour Certificate.

ENC 5217
Editing Manuscripts, Documents, Articles, and Reports
Michael Neal WMS 223C mrneal@fsu.edu

ENC 5217 is a pass/fail writing and editing practicum offered for graduate students as a cohort with ENC 4212, a letter-graded course for undergraduates. The graduate section counts toward the 12-hour Graduate Certificate in Publishing and Editing or as an elective. The undergraduate section can count as an upper-level EWM requirement or as an upper-level English elective. This course emphasizes the need for students to produce well-constructed, polished texts for a variety of audiences with varying expectations. The workshop also incorporates a rigorous professional refresher on grammar, punctuation, and usage; writing mechanics and copyediting practices; and developmental editing. Students will write and edit their own texts, make editorial notes on other’s texts, and edit for page layout and design.

Students will write and edit in genres most appropriate for their academic and professional goals. Graduate students are encouraged to work with conference papers, manuscripts for publication, and sections of larger works such as dissertations or theses. Undergraduate students may select to work with academic or professional genres that fit their goals for the program. All students will take objective editing tests modeled after industry-standard tests commonly administered when applying for an editorial position. The primary textbooks for the class is the most recent edition of Amy Einsohn’s The Copyeditor's Handbook.

ENG 5079
Issues in Literary and Cultural Studies
Robin Goodman WMS 216 rgoodman@fsu.edu

This is a course about the history of ideas. It asks us to think about the frameworks we use to talk about and analyze literary and cultural texts. It is therefore deeply engaged in the politics of interpretive frameworks. We will carefully read critical texts that were ground-breaking in their day and try to consider what they can offer to our understanding of our own contemporary world and scholarly practices. Most of these texts are known for their stylistic and conceptual difficulty. In parsing the ideas that currently circulate in the scholarly debates of our discipline, we will concentrate on some of the most compelling threads of inquiry in our field.

ENG 5138
Studies in Film: Cinematic Species: Gender, Modernity, and Filmic Re-production
Christina Parker-Flynn WMS 441 christina.parker-flynn@fsu.edu

The medium of film allegorizes the major concerns of modernity, especially when paying special attention to modernity as (a) indicative of a change in experience and (b) determined by artificiality and the concept of re-production. As film theorist Raymond Bellour contends, "the actual process of substituting a simulacrum for a living being directly reduplicates the camera's power to reproduce automatically the reality it confronts"; accordingly, "every mise en scène of the simulacrum thus refers intrinsically to the fundamental properties of the cinematic apparatus…in the age of mechanical reproduction the artificial has become a determining condition for modernity." Paying special attention at the level of the subject (or animated object) rather than the city, this course will address the concept of artificial life as one of film's most valuable theoretical and visual paradigms. Specifically, we will explore how the filmic medium becomes predicated upon the artificialization of the female body. From this starting point, we will aim to interrogate the perpetual mimesis of woman on screen, mechanized and fetishized by the camera's lens, through the period of early cinema to the present.

We will take a three-pronged approach for our examination: an exploration of how 19th century literature functions as an archaic blueprint for the cinema; then, the major component of the course will be a dual exploration of film theory and film text. Authors and theorists studied may include: Edgar Allan Poe, Villiers de l'Isle-Adam, Oscar Wilde, Walter Benjamin, André Bazin, Raymond Bellour, Roland Barthes, Laura Mulvey, etc. Films for study may include: Metropolis, Blonde Venus, Sunset Boulevard, Vivre sa vie, Cleo de 5 à 7, Vertigo, Marnie, Her, and Blade Runner 2049.

Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Feminism, Gender, and Sexuality Studies; Post-1900 Literature and Culture.

ENG 5700
Theories of Composition
Jaclyn Fiscus

English 5700 considers composition theory as it has emerged throughout our field’s history. This class will begin with a discussion of key understandings of our field today, using Linda Adler-Kassner and Elizabeth Wardle’s Naming What We Know (2015) and then apply a historical perspective to those concepts in order to understand how they have developed over time. Most often, composition’s history is thought of as linear, a narrative of success. Although we will learn how our history has been told through Joseph Harris’s canonical historical text, A Teaching Subject (2012), we will complicate our understanding of composition history and our consequent theoretical understanding of composition through historical texts in Susan Miller’s Norton Book of Composition Studies (2009), along with excerpts of various texts that re-see composition’s history, including Jason Palmeri’s Remixing Composition (2012) and Shari Stenberg’s Repurposing Composition: Feminist Interventions for a Neoliberal Age (2015). Assignments will include two smaller projects and one final project.

Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Rhetoric and Composition.

ENG 5933
Topics in English: Studies of Alterity in Composition Studies: (Race)ing Around Composition Studies
Rhea Lathan WMS 222F rlathan@fsu.edu

The objective of this course is to introduce students to a close theoretical investigation on how concepts of race, sexual orientation and/or ethnicity have been taken up in Composition Studies. We will examine intersectional methodologies: specifically how the field assembles evidence, argues claims, and constructs theories and histories of Composition, culture(s) and communities in the U.S.

The course is divided into three sections (1) e(Race)ing history, (Race)ing Around Composition Studies, (3) (Race)ing Forward. We draw from Critical Race Theory to assesses the implications of past and current theories for research, teaching and learning in academic and community based contexts. Ultimately students will work to identify what Royster and Williams call "the spaces left" in Composition specifically the next frontier in composition studies: What's missing? What should be studied and how?

Course work consist of intensive reading, students reading response briefs, class discussion, midterm paper and final presentation and project

Text include:
Kynard. Vernacular Insurrections: Race, Black Protest, and the New Century in Composition-Literacies Studies
Prendergast. Literacy and Racial Justice
Pritchard. Fashioning Lives: Black Queers and the Politics of Literacy
Ruiz. Reclaiming Composition for Chicano/as and other Ethnic Minorities: A Critical History and Pedagogy
Young. Your Average Nigga: Performing Race Literacy and Masculinity.

Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Rhetoric and Composition. The course also fulfills the Alterity requirement.

ENG 5933
Visual Rhetoric
Kristie S. Fleckenstein WMS 224 kfleckenstein@fsu.edu

In this course we will explore the ever-evolving realm of visual rhetoric as it plays out in our visually bedazzled Western culture. Addressing what W. J. T. Mitchell calls the “visual turn,” we will investigate the following questions:

  1. What constitutes visual rhetoric as an area of study? To trope Aristotle, it is theoretical knowledge? Productive knowledge? Practical knowledge?
  2. What are the issues impinging on visual rhetoric as an area of study? In Bruce Gronbeck’s terms, what are its “gnarly problematics”?
  3. What constitutes visual rhetoric as an activity? Or what does it mean to “do” visual rhetoric?
  4. How are issues of alterity inextricably interwoven with both the theory and activity of visual rhetoric?

Texts include selected articles and book chapters available as PDFs in the course library of our Canvas site.

Grades will be based on the following: 3 response journals, 2 mini projects, and one final seminar paper

Requirements: Successful completion of this course satisfies three credit hours of the academic requirement for the Certificate in Editing and Publishing. If a student has already met the academic requirement, the course can count for additional credits toward the 12-hour Certificate.

ENG 5933
Pedagogy Workshop
Deborah Coxwell Teague WMS 222E dteague@fsu.edu

Pedagogy Workshop is intended to provide you with continued support during your first year as a graduate teaching assistant in the FSU College Composition Program. Support for those currently teaching ENC 2135 as well as preparation for teaching ENC2135 in the spring will be emphasized.

Requirements: This course is required of all graduate teaching assistants in the Department of English during their first fall and spring semesters in the program.

ENL 5216
Studies in Middle English Language and Literature: Chaucer -- The Canterbury Tales
Jamie Fumo WMS 413 jfumo@fsu.edu

This course is an intensive study of Geoffrey Chaucer's great story collection, the Canterbury Tales (in the original Middle English), considered in light of the literary-historical and intellectual interests of late-medieval England. Our primary goal is to explore Chaucer's artistic goals and strategies while becoming familiar with the textual and cultural conditions that shaped the early circulation of Chaucer's text.

Our concerns will include: the status of the Tales as a story collection that bears both a closural framework and a brazenly open textuality; the poet's use and abuse of his sources and influences in designing individual tales; medieval theories of authorship as they inform Chaucer's various authorial and narratorial guises; and the generic multivalence of the tales and of Chaucer's artistic design. In exploring these issues, we will reflect repeatedly on how the Tales, which Chaucer himself largely denounced-tongue quite possibly in cheek-in his "Retractions," contribute to Chaucer's status as the first canonical English vernacular author. We will read nearly all of the Tales as well as a healthy cross-section of 20th- and 21st-century criticism on them, paying attention to the work's (highly problematic) overall structure as well as the dynamic of its internal components. Instead of advocating for any one critical or methodological position, this course promotes a balanced, integrated view of various fruitful scholarly perspectives, so that seminar participants will emerge as versatile and analytically sentient readers of Chaucer. No prior experience with Middle English is expected, although learning to read and pronounce Middle English is a formal expectation of the course and will involve a collective effort. Requirements tentatively include regular, active participation in seminar; a Middle English recitation of a passage of your choice, with contextual discussion; a book review; a research proposal with annotated bibliography, and a substantial final research paper.

NOTE ON TEXTBOOK: The specific edition required for this course is Geoffrey Chaucer, The Canterbury Tales: Complete, ed. Larry D. Benson (Boston: Houghton Mifflin, 2000). Alternatively, The Riverside Chaucer, ed. Larry D. Benson may be used, but no other editions are permitted. Affordable used copies of both of these editions are readily available on Amazon, so please plan ahead.

Requirements: This course fulfills the general literature requirement for one course pre-1660 or one course pre-1800. It also satisfies the requirement for coursework in the following Area(s) of Concentration: Medieval and Early Modern British Literary and Cultural Studies through 1660.

ENL 5227
Studies in Renaissance Literature: Renaissance Lyric
Anne Coldiron WMS 447 acoldiron@fsu.edu

The course will focus on the major Elizabethan canon---Spenser, Sidney, Shakespeare---and on the major literary fad of early modernity: sonnet sequences. The sonnet, a subset of the epigram in Renaissance poetic theory, had at that time a considerably greater thematic, expressive, and even formal range than we now usually realize. (The usual misunderstanding is another effect of canon-formation; lyric is quite sensitive to editorial interventions and material textuality.) We’ll explore and historicize lyric's range: from topographical and chorographical sonnet-epigrams (the first poems Spenser published), to the strange, metatextual experiments of Watson’s Hekatompathia, to the sequences of the 1590s (glancing at the lesser-known: ever read the Zepheria?), to the ideologically implicated formal experiments such as centi, couplet-sonnets, coronas, acrostics, macaronics. Sonnets shared cultural and codicological space with other lyric kinds (epyllia, elegies, emblems, complaints) treating, for example, politics, love, sex, landscape, religion, or philosophy. Formal, generic, and technical topics will be treated with an eye to theory and pedagogy; you’ll never again fret when teaching a metrical crux. Course activities will include reading, brief lecture notes, longer seminar discussions, short ungraded technical exercises; graded annotated bibliography, graded term presentation suitable for a professional conference, and graded final exam with technical, interpretive, and theoretical components. Course work may also include, depending on what you need/want, ungraded elements such as explications de texte, digital/e-text work, trial poems, visits to Special Collections, work on oral presentation skills, etc. (you'll tell me what you want to strengthen, and we'll work on it).

Requirements: This course the general literature requirement for one course pre-1660 or one course pre-1800. It also satisfies the requirement for coursework in the following Areas of Concentration: Medieval and Early Modern British Literary and Cultural Studies (through 1660); and a Literary Genre (Poetry).

ENL 5246
Studies in British Romantic Literature: Theatre Voices
Judith Pascoe WMS 421 jpascoe@fsu.edu

Class members will consider the stage as an echo chamber of previous performances, and the nineteenth-century novel as a stage for ghosts of the theatrical past. How do Shakespeare's plays (most notably The Winter's Tale) get reinvented by the Romantics, and how do celebrity actors become irrevocably bound to particular roles? We will consider the afterlives of star performances as they are evoked by later novels and plays (such as Charlotte Brontë's Villette, Henry James's The Aspern Papers, and Ronald Harwood's After the Lions). We will also explore how the advent of recording technology altered cultural imaginings of the theatrical past. Our discussions will be supported by readings in theatre history and criticism (especially the work of Marvin Carlson and Joseph Roach), as well as by histories and theories of the voice and its technological reproduction (including the writings of Wayne Koestenbaum, Roland Barthes, and Mladen Dolar).

This class asks students to develop a daily writing discipline in order to use writing as a form of active and creative thinking (and also to avoid end-of-semester binge writing). Imagine an interpretive continuum looking something like this:

Reading Notes . . . Trial Interpretations . . . Seminar Paper

Although the number of pages students generate at each stage of the continuum is flexible, the obligation to write-early on in the semester and consistently across the semester-is not. The point of all this writing will be to build the groundwork for a substantial portfolio of critical prose-cogent, polished, engaging work.

Students have the option of experimenting with new research methodologies and publishing platforms, and will be able to draw on technological support for more experimental endeavors. Students from all disciplinary fields are welcome.

Requirements: This course satisfies the requirement for coursework in the following Area of Concentration: British and Irish Literary and Cultural Studies: 1660-1900; a Literary Genre (fiction).

LIT 5017
Studies in the Novel: Theories of the Novel Now
Meegan Kennedy WMS 431 meegan.kennedy@fsu.edu

How did the novel - a relatively recent form - reach such dominance during the nineteenth century? How have scholars of narrative, history, and genre variously told the story of the novel? What is the fate of the novel now, in contemporary literature and criticism?

This course uses the British 19th-century novel as a lens through which to examine classic and new theories of this genre. We'll start with a quick survey of some of the classics of novel history and theory and then move to some of the interesting and provocative ways that scholars have been theorizing "the novel," especially the 19th-century novel, over the past decade. We'll conclude by considering "why the novel," when other forms of media also offer the pleasures and challenges of narrative. We'll use as our test cases three diverse novels from the period: Charles Dickens, Oliver Twist; George Eliot, Mill on the Floss; and Richard Marsh, The Beetle. Our contemporary critics not only extend our study of novel history and theory but also allow us to debate how to read a book (literary and critical).

Requirements: This course fulfills the general literature requirement for a course in 1660-1900. It also satisfies the requirement for coursework in the following Areas of Concentration: British and Irish Literary and Cultural Studies: 1660-1900; Literary Genre (fiction).

LIT 5235
Studies in Post-Colonial Literature: Modernism and Postcolonial Poetry
Robert Stilling WMS 309 rstilling@fsu.edu

How was modernism received and revised in the postcolonial world? How have postcolonial poets adapted and indigenized modernist poetics while altering our understanding of the development, transmission, and geographical reach of modernist cultural practices and institutions? This course will address current debates about transnationalism and periodization in both modernist and postcolonial studies by examining a range of Anglophone poets from Britain, America, Ireland, the West Indies, Africa, and South Asia. The poets we study will include the usual modernist suspects, such as Eliot, Yeats, and Pound, as well as a diverse selection of postcolonial poets, including Derek Walcott, Kamau Bathwaite, Christopher Okigbo, Wole Soyinka, Agha Shahid Ali, Arun Kolatkar, Una Marson, Imtiaz Dharker, and Medbh McGuckian.

Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Post-1900 Literature and Culture; and Colonial, Postcolonial, and Transnational Literary and Cultural Studies; a Literary Genre (poetry). This course also meets the Alterity requirement.

LIT 5327
African American Women, Sexualities, and Folklore
Jerrilyn McGregory WMS 458 jmcgregory@fsu.edu

This course explores African American (AFAM) folklore from a gendered, feminist lens and feminist theory from a folkloristic lens in order to highlight the unique contributions of feminist folklorists and folkloristics to our understanding of women's expressive culture. Therefore, this course critically engages folklore and vernacular theory, AFAM cultural studies, and queer theory to examine the representation of sexual desire in AFAM folktales, fiction, stand-up comedy, blues, and hip-hop created by Africana women, especially outside the boundaries of normativity and respectability, so as to gain a polycentric knowledge about race, sexuality, class, and gender.

Requirements: This course satisfies the requirement for coursework in the following Areas of Concentration: Feminism, Gender, and Sexuality Studies; African-American Literary and Cultural Studies; Post-1900 Literature. This course also meets the Alterity requirement.