Current and Upcoming Courses
Summer 2016 Graduate Courses
First Summer Session (Evening) - No offerings
Second Summer Session (Evening)
ENGL 553: Modern English Grammar - Professor Allen. Meets at The Citadel. Elective for MA students; requirement for MAT students. Tuesdays and Thursdays, 5:30 - 8:30PM.
ENGL-511: Introduction to Graduate English Studies. Professor Duvall. Meets at College of Charleston. Wed. 4:00-6:45. (Required for all students entering the program fall 2016)
ENGL 511 offers a practical introduction to research and writing for graduate study in English. The course will cover theoretical approaches to literary and cultural interpretation; the discovery, analysis, evaluation, and integration of primary and secondary sources; and strategies for generating and revising sophisticated arguements. It also seeks to broaden awareness of career paths and professional development opportunities for graduates of our MA program.
ENGL 506: Survey of Restoration and 18th Century Drama. Professor Lowenthal. Meets at the College of Charleston. Mon 4:00-6:45. Fulfills the pre-1800 British Literature requirement.
We will read the major dramatists of the late seventeenth and eighteenth centuries. We will situate them within the rapidly changing social, political, and economic realities of the early modern period. Authors and works will likely include the following: Aphra Behn (The Rover), John Dryden (All for Love), Wycherley (The Country Wife), Etherege (The Man of Mode), Southerne (Oroonoko), Congreve (The Way of the World), Centlivre (A Bold Stroke for a Wife), Steele (The Conscious Lovers), Gay (Beggar's Opera), Lillo (The Lonodon Merchant), Goldsmith (She Stoops to Conquer).
ENGL 509: Romantic Literature. "Scorpions in the Brain": Obsession and British Romanticism. Professor Beres Rogers. Meets at the College of Charleston. Mon. 7:00-9:45. (Fulfills requirement for Post-1800 British literature)
To say that Romantic authors and characters are "obsessed," whether with love, study, sex, military glory, or even a ruminative idea, is somewhat of a commonplace. In this class, we will work together to think about why the obsessive thought, what Dioscorides called the "scorpion" in the "brain," fasincated the Romantics as it did. I contend that some of the answer lies in the contemporary interst in the "science of the mind," what we now call psychology. A number of medical writers - as well as literary authors like Joanna Baillie and Charlotte Dacre - were fasincated by how an idea, a passion, affected the brain as well as the body. And passions, or emotional states, were connected in many ways to aesthetic ideas, primarily the ideas of the beautiful and sublime. What, wondered authors and medical writers alike, happens to the brain when it experiences something sublime, a mixture of awe and fear? What happens wihen this sublime passion is repeated? How might obsession, like the sublime, be gendered.
To think about this question, we will read some basic aesthetic treatises (Edmund Burke, Emmanuel Kant) about the sublime. We will also look at the various types of obsession (as defined by Etienne Esquirol) - obsession with study, eratomania, nymphomania, the obsession with the ruminative idea, and obsession with military glory - through literary texts including, but not limited to, Mary Shelley's Frankenstein, Mary Hays's Memoirs of Emma Courtney, John Keats's Isabella, or the Pot of Basil and Eve of St. Agnes, S.T. Coleridge's Rime of the Ancient Mariner, William Wordsworth's "The Thorn," and Joanna Baillie's Count Basil.
ENGL 705: American Literature and Film. Professor Hutchisson. Meets at the Citadel. Thus. 4:00-6:45 (Fulfills requiremnt for American literature and the seminar requirement).
In this course we will study both the text and film adaptations of some classic American literature. A focus of the course will be on the idea of adaptation itself: not just the mechanics of the screen translation of text but on the adaptive matrix that is created on film through the confluence of script, acting, direction, camera work, music, and other elements. We will work toward conclusions about how certain categories or levels of meaning may exist only in one or the other of the two forms, print and visual, and about how some meanings may be intentional and others merely adventitious. Above all, we will have great fun seeing the various ways in which the images created in our minds by the power of the written word take flight and assume sometimes unexpected imaginative forms on the screen. Some probable texts and films include The Great Gatsby (the 2013 version directed by Baz Lurhmann), No Country For Old Men, Farenheit 451, McTeague, Ethan Frome, Psycho, and The Color Purple.