GRADUATE BULLETIN...Spring 2020 – Graduate Bulletin – Page 3 University of South Florida Department of English structures and traditional ways of thinking.” Exploring the boundaries

Updated: November 12, 2019

GRADUATE

BULLETIN

Spring 2020

UNIVERSITY OF

SOUTH FLORIDA

DEPARTMENT OF ENGLISH

College of Arts and Sciences

http://english.usf.edu/

4202 E. Fowler Avenue, CPR 358

Tampa, FL 33620-5550

(813) 974-2421

Fax (813) 974-2270

http://www.cas.usf.edu/english

http://www.cas.usf.edu/english

Spring 2020 – Graduate Bulletin – Page 1

University of South Florida Department of English

JOHN LENNON LAURA RUNGE Graduate Director Department Chair

AML 6637.001 [ref. #22979] CIRCA 1992 NARRATIVE: ARCHIVING LATINA/O/X ENVIRONMNTALISM will meet Mondays from 3:30-6:15pm with Professor Ylce Irizarry. DESCRIPTION The year 1992 marked the 500th anniversary of Europeans’ arrival in the “New World.” In

anticipation, Indigenous groups, Latinas/os, and other underrepresented groups organized protests and

called for disavowal of the celebration of what the “Conquest” engendered: genocide. The course will

explore how Chicana/o/x and Latina/o/x novels contest the construction of history in the “Archive.”

The “Archive” refers to post-Columbian documentation of “The New World” that began with

Spanish travelogues, ethnographies, and catalogs, etc. We will examine Chicana/o/x and Latina/o/x

narrative to develop an understanding of the literary responses to 1492 and 1992. The goal of the

course is to study how Chicana/o/x and Latina/o/x novels create archives of their environments—

urban, suburban, rural, dystopic—to resist the legacies of Spanish Colonialism and US

Neocolonialism.

Students enrolled in this course will explore four major patterns in Circa 1992 novels: 1) the

proliferation of historical fiction; 2) the foregrounding of ecocriticism; 3) the incorporation of the

arts; 4) the manipulation of genre literature (e.g., science fiction). We will frame our discussions on

the novels’ concerns through their aesthetics and historical context. Certain literary/critical practices

will be emphasized: Meta-fiction, Revisionist Writing, Ecocriticism, and Intersectionality. Certain

themes will be emphasized: Immigration/Exile, Memory, Temporality, Community, Ecocrisis, and

Agency. The novels represent the perspectives of authors from the Hispanic Caribbean Basin:

Chicana/o/x (Mexican American) and Latina/o/x (Cuban, Dominican, Guatemalan, & Puerto Rican

American). Readings are in English. Readings include primary (novels) and secondary (journal

articles and book chapters) texts.

TEXTS Benitez-Rojo, Antonio Sea of Lentils (ISBN: 9780870237546)

Cabiya, Pedro Wicked Weeds (ISBN: 9781942134114)

Indiana, Rita Tentacle (ISBN: 9781911508342)

Lopez, Erika Flaming Iguanas (ISBN: 9780684853680)

Montero, Mayra The Palm of Darkness (ISBN: 9780060929060)

Morales, Alejandro The Rag Doll Plagues (ISBN: 9781558851047)

Plasencia, Salvador The People of Paper (ISBN: 9780156032117)

Rosario, Nelly Song of the Water Saints (ISBN: 9780375725494)

Sánchez, Rosaura & Pita, Beatrice Lunar Braceros: 2125-2148 (ISBN: 9780984335909)

Vourvoulias, Sabrina Ink (ISBN: 9780615657813)

DEGREE REQUIREMENTS FULFILLED

• MA Lit historical distribution: 20th century

• MA Lit requirement: American traditions

• MA Lit cultural-critical



• MA Lit elective

• MA R/C: 1-2 other electives

• MFA elective (5 courses)

• PhD literature elective

• PhD Lit theory-rich course

CRW 6025.901 [ref. #18495] COMICS & GRAPHIC NARRATIVE will meet Wednesdays from 6:30-9:15pm with Professor Jarod Rosello. Non-CRW majors contact professor for permit. DESCRIPTION This course is an experiment with image-text work focused on comics and graphic narrative.

Throughout the semester, we will read comics, read about comics, and make our own comics in an

attempt to investigate what is possible at the intersection of words and pictures, to see what happens

when language and sensation collide. As a medium, comics exists outside traditional literary genre

boundaries, and so this course should be thought of not just as multi-genre, but as post-genre, where

you can bring what you know with you and use it to make something new. No drawing skills are

required, no previous knowledge of comics is necessary. This course is designed as a studio course,

where we will be making and sharing work together each week.

TEXTS TBD REQUIREMENTS TBD



CRW 6236.901 [ref. #12839] CREATIVE NONFICTION WRITING: NARRATIVES OF THE BODY will meet Mondays from 6:30-9:15pm with Professor Julia Koets. Non-CRW majors contact professor for permit.

DESCRIPTION We refer to the central section of a piece of writing as the body. In this graduate creative nonfiction

workshop, we will explore some of the following questions about the body, embodiment, and writing:

How is your body of work an investigation into your own body and the bodies of others? Given the

relationship between texts and bodies and the emergence of categories like “speculative nonfiction,”

how, too, is the division between mental health and physical health similar to the distinction between

fact and imagination in creative nonfiction? How do borders always involve bodies? Since genre and

gender are etymologically linked, how might the fluidity of gender be reflected in the structure and

form of our writing? “Certain kinds of writing (bodies) are valued more, are promoted and supported

and legitimized,” Kazim Ali writes, “and that the kinds of writing that are undervalued or

marginalized are precisely those which undermine (in both their form and content) traditional power



structures and traditional ways of thinking.” Exploring the boundaries between fact, memory, and

imagination in works like Jenny Boully’s The Body: An Essay, Kiese Laymon’s Heavy: An American

Memoir, Alexandria Marzano-Lesnevich’s The Fact of a Body: A Murder and a Memoir, Bassey

Ikpi’s I’m Lying But I’m Telling the Truth: Essays, and Bending Genre: Essays on Creative

Nonfiction, we will read, discuss, create, and revise original works of nonfiction with attention to

dialogue, lyric compression, narrative order, point of view, form, metaphor, rhythms of language,

white space, character, and exposition. REQUIREMENTS TBD POSSIBLE TEXTS Jenny Boully’s The Body: An Essay

Kiese Laymon’s Heavy: An American Memoir

Alexandria Marzano-Lesnevich’s The Fact of a Body: A Murder and a Memoir

Bassey Ikpi’s I’m Lying But I’m Telling the Truth: Essays

Bending Genre: Essays on Creative Nonfiction (edited by Margot Singer and Nicole Walker) DEGREE REQUIREMENTS FULFILLED • MFA nonfiction track requirement


CRW 6331-001 [ref. #13962] POETRY WRITING will meet Fridays from 2:30-5:15pm with Professor Jay Hopler. Non-CRW majors contact professor for permit. DESCRIPTION This course is a graduate creative writing workshop in which the original creative work of the course

participants will be read and discussed. Poems and essays written by established/professional poets

also will be examined. However, in this class, when you read a poem by someone like Sylvia Plath or

Pablo Neruda, you will read it as writers looking for ways to make your own writing better, not as a

group of literary scholars concerned with matters of theory and interpretation. REQUIREMENTS Each student will submit for workshop one original poem per week and will select one recently

published book of poetry to teach/present to the class.

TEXTS

TBD

DEGREE REQUIREMENTS FULFILLED • MFA poetry track requirement


DIG 6178-901 [ref. #22976] INTRO TO DIGITAL HUMANITIES will meet



Tuesdays from 6:30-9:15pm with Professor Steven Jones. DESCRIPTION Digital Humanities (DH) is an interdisciplinary field at the intersection of digital technologies and

humanities research and learning. It rose to prominence in the past decade or so, partly in response to

widespread changes in technology and culture, including the advent of mobile platforms, the

geospatial turn, the mass digitization of books and other objects, casual and mobile gaming,

augmented reality applications, and large-scale data analysis—all of which have serious implications

for society and for the humanities. There are now dedicated research centers, grants, journals,

conferences, degree and certificate programs in the field and this seminar is an introduction to DH.

We’ll explore contemporary issues and debates, including questions about technology and culture,

race and gender, access and preservation, privacy and security. Readings will consider theories as

well as specific DH tools, projects, and methods. In addition to readings and presentations, students

will use digital platforms and tools to create and present a prototype of a DH project. Like all

seminars, this class will be based on open discussion, but class periods will also involve student

presentations, as well as some tinkering and experimentation. TEXTS

Open-access:

An Aura of Familiarity, Institute for the Future,

2013: http://www.iftf.org/fileadmin/user_upload/downloads/th/IFTF_SR-

1590C__AnAuraOfFamiliarity.pdf

Electronic Literature Organization ELC3: http://eliterature.org

Gold, Matthew and Lauren Klein, eds., Debates in the Digital Humanities 2016:

http://dhdebates.gc.cuny.edu

Schreibman, Susan, Ray Siemens, and John Unsworth, eds., A New Companion to Digital

Humanities (2016): https://onlinelibrary.wiley.com/doi/book/10.1002/9781118680605

To purchase:

Greenfield, Adam. Radical Technologies: The Design of Everyday Life (Verso, 2018)

REQUIREMENTS In addition to the readings and discussion, requirements will include regular writing on a digital

publishing platform; in-class presentations; and a final collaborative project on a digital platform

addressing a DH question using appropriate tools. (Note: No knowledge of programming or other

technological skills is prerequisite for the course. During the semester students will learn some basics

of markup languages and become familiar—at the introductory level—with the basics of

programming.) Grades will be distributed approximately as follows:

• Class participation ………………………………………………….……………10%

• Regular online writing ………………………………………………………..…15%

• PechaKucha presentations with discussion………………………….…………..25%

• Presentation/demo of collaborative digital project (in progress)………………..20%

• Final digital project, including documentation………………………………….30%

http://www.iftf.org/fileadmin/user_upload/downloads/th/IFTF_SR-1590C__AnAuraOfFamiliarity.pdf




http://eliterature.org/

http://eliterature.org/

http://dhdebates.gc.cuny.edu/

http://dhdebates.gc.cuny.edu/

https://onlinelibrary.wiley.com/doi/book/10.1002/9781118680605

https://onlinelibrary.wiley.com/doi/book/10.1002/9781118680605

https://www.pechakucha.org/faq

https://www.pechakucha.org/faq



DEGREE REQUIREMENTS FULFILLED • Core requirement for the new Graduate Certificate in Digital Humanities

• MA Lit cultural-critical studies

• MA R/C 1-2 other electives



ENG 6005-001 [ref. #15580] SCHOLARLY RESEARCH & WRITING will meet Wednesdays from 3:30-6:15pm with Professor Cynthia Patterson. DESCRIPTION This is a required course for PhD students in literature and rhetoric and composition to hone their

research and writing skills and prepare them to write a prospectus for the dissertation. It will be both a

writing workshop and a discussion seminar. Topics to be covered include finding and assessing

research in your field; improving your writing style, skills and methods; different methodologies;

finding a topic; writing abstracts, annotated bibliographies, conference papers, articles, and longer

research projects; peer review; writing/publishing with technology; grant writing;

forming/participating in writing communities; delivering a conference paper; revising conference

papers for journal publication.

Our first class meeting will determine the focus and needs of the class based on the students enrolled.

All students MUST COME TO THE FIRST CLASS WITH A COMPLETE RESEARCH

PAPER 15-25 PAGES LONG, uploaded in advance to the course shell on Canvas. This submission

will serve as the foundation for some of the workshop writing tasks in the class. Although students do

not need to know exactly what their dissertation topic is, students should have a direction for research

in mind, with a sample paper to serve as a grounding for future workshops and discussions.

After the initial class meeting, the course will be conducted in hybrid format, with some face-to-face

class meetings, and some deadline-driven work conducted via the USF course learning management

system (LMS), Canvas, including the virtual online meeting tool, Blackboard Collaborate.

REQUIREMENTS

• Daily writing commitment

• Weekly posts, workshop submissions and peer reviews

• Creation of the following scholarly writing genres (as applicable to the particular student

situation): abstract (in answer to conference CFP); annotated bibliography (for exam

preparation and literature review in field/s of interest); original research essay to be submitted

for publication; shortened version of research essay appropriate for conference presentation;

draft of dissertation proposal; grant application, etc.

TEXTS

Anne Sigismund Huff, Writing for Scholarly Publication (Thousand Oaks: Sage Publications, 1999).

ISBN: 0761918051 (paperback)

https://www.usf.edu/arts-sciences/departments/english/graduate/digital-humanities/index.aspx

https://www.usf.edu/arts-sciences/departments/english/graduate/digital-humanities/index.aspx



STYLEBOOK (Choose the one appropriate to your discipline-specific needs):

(APA) Academic Writer, available online at https://academicwriter.apa.org/;

(MLA) MLA Style Manual and Guide to Scholarly Publishing, 8th Edition;

(Chicago) Turabian, A Manual for Writers, 9th Edition

(or another of your choice with my consultation)


• PhD Requirement

ENG 6018-001 [ref. #21632] STUDIES IN CRITICISM & THEORY I will meet ONLINE with Professor Regina Hewitt. DESCRIPTION How does studying literary criticism or theory differ from studying literature? How does literary

criticism differ from literary theory? Answers to the first question range from arguments that the

study of literary criticism or theory is more philosophical, contextual and analytical to arguments that

there is no difference at all. Similarly, answers to the second question range from arguments treating

criticism as the application of theory to literature to arguments that the difference is nominal. Despite

overlaps in terms and procedures, a case can be made for criticism and theory as a “meta” component

of the literary field, one crucial for its formation and continuing development. This course will

investigate the self-conscious formation and transformations of the field of literary studies in British

culture beginning with its privileging of the classical concept of mimesis to its preoccupation with the

“romantic” notion of a creative imagination. It will contextualize theorical interests with respect to

political and cultural developments during the Middle Ages, Early Modern and Eighteenth-Century

periods, including the increasing importance of civil society and of women as readers, writers and

critics; the imposition and circumvention of censorship and licensing; the influence of technology on

reading and writing practices; the “rise” of the novel, the proliferation of periodicals and changing

attitudes toward other genres. It will consider ongoing controversies over periodization itself,

including the political considerations that can make Adam Smith a Romantic-era writer and concerns

about the viability of established intellectual fields.

REQUIREMENTS This class will meet entirely online, freeing us from the constraints of space and time and allowing us

to participate in a contemporary version of the circulation of manuscripts that occurred during earlier

periods in literary history. For each week throughout the term, students will be expected to submit

assignments by designated due dates through the Canvas system. Assignments will consist of weekly

essays; discussions of specific aspects of assigned readings; an annotated bibliography and a response

to a bibliography; registration for the course (i.e. auditing not permitted).

TEXTS Classical Literary Criticism. Trans. Penelope Murray and T. S. Dorsch. Intro. by Penelope Murray.

Penguin Classics (paperback) 2001 (rpr. 2004). ISBN 0-140-44651-6; ISBN-13 9780140446517

Sidney’s “The Defence of Poesy” and Selected Renaissance Literary Criticism. Ed. Gavin Alexander.

Penguin Classics (paperback) 2004. ISBN-13: 9780141439389

https://academicwriter.apa.org/

https://academicwriter.apa.org/



The Idea of the Vernacular: An Anthology of Middle English Literary Theory, 1280-1520. Ed. Ruth

Evans et al. Pennsylvania State UP, 1999. ISBN 0-271-01758-9; ISBN-13: 9780271017587

[a particularly strong example of the polemical formation of a field]

The above texts will be supplemented with readings from the library’s electronic holdings and other

internet resources. DEGREE REQUIREMENTS FULFILLED

• MA Lit requirement (ENG 6018 or 6019)

• MA Lit cultural-critical studies (if not used to satisfy above requirement)

• MA R/C: 1-2 other electives

• PhD Lit requirement (ENG 6018 or 6019)

• PhD Lit theory-rich course (if not used to satisfy above requirement)

ENL 6256-901 [ref. #22989] VICTORIAN LITERATURE: THE AFTERLIVES OF VICTORIAN FICTION will meet Thursdays from 6:30-9:15pm with Professor Marty Gould. DESCRIPTION

This semester we will look at the historical and multi-generic progeny of selected nineteenth-century

novels: Great Expectations, A Christmas Carol, and Jane Eyre. For each of these novels we will look

at a selection from the vast array of fictional, theatrical, and cinematic adaptations that these novels

have inspired. We will consider not only why and how these novels have been adapted into various

media but also how literary adaptations function as critical readings of and creative interventions in

the very texts that they adapt.

TEXTS (TBD) The syllabus is still taking shape, but novels may include Jean Rhys’s Wide Sargasso Sea, Lloyd

Jones’s Mr. Pip, and Peter Carey’s Jack Maggs. Films may include Fitoor, An Orphan’s Tragedy,

Rebecca, and It’s a Wonderful Life. We’ll supplement our core group of texts and films with a wide array of secondary readings drawn

from adaptation theory, literary criticism, and film and theatre studies. Some of this secondary

material will illuminate Victorian adaptations and revisions of Renaissance and eighteenth-century

texts. Other essays will shed light on the later afterlife of the Victorian novel. In addition, there will

be a good sampling of theoretical work on the processes and products of literary, theatrical, and

cinematic adaptations. All of bases, in other words, will be well-covered: even if you’re not a

Victorian literature enthusiast, the theoretical readings and critical tools we’ll develop in this course

are widely transferable to other literary remediations, translations, or adaptations. REQUIREMENTS Oral reports, Short Response Papers, Final Research Project DEGREE REQUIREMENTS FULFILLED

• MA Lit historical distribution: 19th-Century British



• MA Lit requirement: British traditions

• MA Lit elective

• MA Rhet/Com 1-2 other electives



ENL 6276-001 [ref. #11646] ANGRY/YOUNG/OTHERS AND THE LONG IMPERIAL HANGOVER: BRITISH AND IRISH LITERATURE, THEATRE, AND FILM FROM WWII TO THE CONTEMPORARY AGE will meet Thursdays from 3:30-6:15pm with Professor Susan Mooney. DESCRIPTION After the conclusion of WWII, Great Britain’s understanding and use of empire experienced a myriad

of strong political, socio-economic, and cultural shifts, and these were often reflected in the literature,

theater, and cinema. We will study the influence of neo-Marxism, feminism, Négritude and Black

Consciousness; class conflicts and the angry young men of the 1950s; Ireland and the Troubles;

immigrations from the British Caribbean, Africa, India, and Pakistan; gay rights movement;

environmental movement; the European Union, Brexit, nationalist and regional identities, and the

British Commonwealth. In tandem with these movements, we will explore the aesthetics of post-

WWII literature and film: this is hardly a unified body of work. We will explore styles and concepts

ranging from kitchen sink realism, British New Wave, theatre of the absurd and beyond; new British

cinema; late modernism and postmodernism; poststructuralism; postcolonialism; some narrative and

drama theory.

TEXTS (TBD) Will possibly include primary texts (novel; short story; drama) by authors such as Jean Rhys; Samuel

Beckett; Harold Pinter; Dylan Thomas; John Osborne; Shelagh Delaney; Julian Barnes; Angela

Carter; Caryl Churchill; Michael Ondaatje; Timothy Findley; Andrea Levy; Zadie Smith; Jeanette

Winterson; Ben Okri; Malcolm Lowry; Salman Rushdie; Marina Carr; Ali Smith.

POSSIBLE FILMS (TBD based on streaming availability; 4-6 of the following): 1. A Passage to India (1984), dir. David Lean (based on novel by E. M. Forster)

2. Orlando (1992), dir. Sally Potter (based on novel by Virginia Woolf)

3. The Prime of Miss Jean Brodie (1969), dir. Ronald Neame

4. I Know Where I’m Going (1945), dir. Michael Powell and Emeric Pressburger

5. Room at the Top (1959), dir. Jack Clayton

6. Kes (1970), dir. Ken Loach

7. My Beautiful Laundrette (1986), dir. Stephen Frears

8. Young Soul Rebels (1991), dir. Isaac Julien

9. The Crying Game (1992), dir. Neil Jordan

10. The Draughtsman’s Contract (1983), dir. Peter Greenaway

READINGS IN THEORY AND CRITICISM (to be finalized): Excerpts from John Berger; Raymond Williams; Terry Eagleton; Laura Mulvey; Edward Said;

Gayatri Spivak; Karl Marx; M. Horkheimer and T. W. Adorno; Catherine Belsey; Steven Best;

Stephen Heath; and others.



STUDENT LEARNING OUTCOMES Students will gain an enhanced understanding and appreciation of film and gender studies, and they

will develop advanced skills in cinematic and theoretical research, criticism, and writing.

REQUIREMENTS Assignments will involve an early short paper, a research-based presentation, a final research paper,

and participation in class and peer-based activities.

DEGREE REQUIREMENTS FULFILLED • MA Lit elective

• MA Lit historical distribution: 20th century

• MA Cultural-Critical Studies

• MA Rhet/Comp 1-2 other electives



LIT 6934-001 [ref. #11977] PRACTICUM IN TEACHING PROFESSIONAL AND TECHNICAL COMMUNICATION will meet Thursdays from 3:30-6:15pm with Professor Meredith Johnson. DESCRIPTION The Practicum in Teaching Professional and Technical Communication accomplishes several goals:

• Imparts curricula for three service courses: 1) Professional Writing (ENC 3250); 2) Technical

Writing for the Health Sciences (ENC 2210); and 3) Communications for Engineers (ENC

3246). After successfully completing the practicum, you’ll be prepared to teach three

professional and technical communication courses on your own beginning summer 2020. A

quick look at the MLA job list for this year reveals a higher proportion of generalist jobs. A

broader approach to English studies now will help you qualify for a larger range of jobs down

the road.

• Connects pedagogy with the theory that undergirds it. We’ll engage PTC as a teaching

practice and a scholarly focus.

• Satisfies one of two requirements of the Professional and Technical Communication Graduate

Certificate (code XPC). The PTC Graduate Certificate is a credential that will serve as evidence

of expertise for potential employers. It is open to both Rhetoric and Composition and non-RC

graduate students in English Studies. Note: The $30 application fee is waived for current USF

graduate students. http://www.grad.usf.edu/programs/search_cert.php

REQUIREMENTS Class participation; reading responses; assignments

TEXTS Angela M. Haas and Michelle F. Eble (Eds). (2018). Key Theoretical Frameworks: Teaching

Technical Communication in the Twenty-First Century. Available new for less than $40

http://www.grad.usf.edu/programs/search_cert.php

http://www.grad.usf.edu/programs/search_cert.php



DEGREE REQUIREMENTS FULFILLED • Professional & Technical Writing Certificate requirement

• MA Lit elective

• MFA elective

• MA R/C elective

• PhD R/C elective

LIT 6934-002 [ref. #13966] SEL. TOPICS: RHETORIC, SCIENCE & THE NEW MATERIALISM will meet Tuesdays from 3:30-6:15pm with Professor Carl Herndl. DESCRIPTION In the last few years rhetoric has engaged with a number of ideas from the intellectual movement

known as the “new materialism” and developed what many in rhetoric call “object-oriented

rhetoric.” This movement has challenged basic rhetorical assumptions such as that rhetoric is a

uniquely human project and that rhetoric of science is focused on epistemic questions. While new

materialism has strong roots in political theory and philosophy, e.g. Jane Bennett and Heidegger’s

writings, work in materialist science studies (e.g. Latour, Pickering, Mol) has had probably the

largest influence on rhetoric. This course begins with some of the texts that grounded new

materialism and then explores the theoretical and practical opportunities opened to rhetoric through

reading recent articles and collection in rhetoric. The course is organized by a series of questions

that lie at the intersection of rhetoric, science studies and new materialism:

-- What does it mean to understand science as a material practice rather than an epistemic project? As

a doing rather than a finding or discovering?

-- How does a renewed interest in the material and in “things” alter our understanding of rhetorical

ethics and of the rhetoric of place or “dwelling”?

-- What are the implications and possibilities opened to rhetoric (both in theory building and in

rhetorical practice) by contemporary work in science studies (Latour et. al.) and philosophy of science

(Harmon et. al.)?

-- How can science become more engaged in policy and address “matters of concern” to our society?

REQUIREMENTS The course will be a lecture/discussion mix in which the biggest piece of your work will be doing

all the reading and coming to class prepared to discuss it with your colleagues. Each member of

the class will also be responsible for leading the class discussion on a reading of their choice once

during the semester. Each student will also complete a substantial piece or pieces of writing. Since

some of you are completely unfamiliar with this material while others will have read greater or

lesser parts of it, I will let each of you determine what purpose and form your writing will take.

Each of you will give me a proposal defining their writing project for the course early in the

semester.

READINGS We will organize our exploration of these questions around the work of Bruno Latour, the recent

commentary on Latour by Graham Harmon, Heidegger’s writing on “The Thing” which has been

vastly influential in rhetoric, and selections from new books in rhetoric including Thomas Rickerts’

Ambient Rhetoric (2013), Lynch and Rivers’ Thinking With Bruno Latour in Rhetoric and



Composition (2015), and Barnett and Boyle’s Rhetoric Through Everyday Things (2016). Readings

from Latour will include We Have Never Been Modern (1997), Politics of Nature (2004); Why Has

Critique Run Out of Steam?” (2004). We will also read selections from Braun, and Whatmore’s

Political Matter: Technoscience, Democracy and Public Life (2010); from Coole and Frosts’ The

New Materialism (2010); from Jane Bennett’s Vibrant Matter: A Political Ecology of Things (2010)

and The Enchantment of Modern life: Attachments, Crossings, and Ethics (2001); from Karen

Barad’s Meeting the Universe Halfway (2007); and Marilyn Cooper’s The Animal Who Writes

(2019).


• Elective (MA or PhD Rhet/Comp)

• Theory rich course

LIT 6934-901 [ref. #21631] WORKING-CLASS LITERATURE will meet Mondays from 6:30-9:15pm with Professor John Lennon. What is working-class literature? By reading, watching, and discussing a wide range of literature and

film—from a mother slowly coming to class consciousness in Russia in the early 20th century to a

server working the last holiday shift in a Red Lobster in the U.S in the 21st century—we will begin to

define the term and theoretically explore its various manifestations. While Marxist approaches will

help us develop nuanced understandings of the literatures and their socio-economic contexts, we will

also employ intersectional approaches focusing on issues of gender, race and sexualities to better

investigate the texts. Using this comparative approach—in terms of national literature, genres, and

theoretical approaches—we will analyze what makes a text an example of working-class literature.

Primary texts we *may* read: Mother by Maxim Gorky; Yonnondio by Tllie Olsen; “Life in the Iron Mills” by Rebecca Harding

Davis; The Hairy Ape by Eugene O’Neil; Daughter of the Earth by Agnes Smedley; Sweat by Lynn

Nottage; Living and Dying on the Factory Floor by David Ranney; Who Killed My Father by

Edouard Louis; Hillbilly Elegy by J.D. Vance; Heart Land by Sarah Smarsh; Skint Estate by Cash

Carraway; Under the Feet of Jesus by Helena Maria Viramontes, Last Night at the Lobster by Stewart

O’Nan.

Scholarly texts we *may* read sections from: The ABCs of Capitalism by Vivek Chibber; Radical Representations by Barbara Foley; Class

Questions: Feminist Answers by Joan Acker; The Cultural Front by Michael Denning; The

Communist Manifesto by Karl Marx; Labor and Desire by Paula Rabinowitz.

DEGREE REQUIREMENTS FULFILLED • MA Lit historical distribution: 20th-Century US

• MA Lit requirement: American traditions

• MA Lit Cultural Critical

• MA Lit, Rhet/Comp, and MFA elective




ADDITIONAL GRADUATE OFFERINGS (see department handbooks for more information about these courses)

Directed Research in which student must have a contract with a faculty member:

• ENG 6916 (Master’s) • ENG 7916 (Doctoral)

Master’s portfolio hours in which student must have a contract his/her director:

• ENG 6916 (Master’s) Doctoral Seminar credit that accompanies a regular 6000-level English course:

• ENG 7939 (Doctoral only) A student actively working on his or her thesis/dissertation project is required to enroll for a minimum of two semester hours until the project meets all requirements for completion of degree:

• Thesis (ENG 6971) • Dissertation (ENG 7980)

A contract must be completed for registration in any of the above courses. The contracts are available on the department website at https://www.usf.edu/arts-sciences/departments/english/graduate/advising-and-forms.aspx. Upon submission of a completed contract, the Graduate Program Specialist will issue the necessary permit that will enable you to register for the hours. Permits that have been issued for you are viewable on the Registration Status screen of OASIS.

ENROLLMENT REQUIREMENTS

Please note the following enrollment policies, which will be strictly enforced by the Graduate School. Any student not adhering to these requirements will be dropped from the program:

➢ All degree-seeking graduate students (except doctoral students admitted to candidacy) must be enrolled in a minimum of six credits every three consecutive terms (including summer) every academic year.

➢ Doctoral students admitted to candidacy must be continuously enrolled each semester in dissertation hours for a total of at least two hours per semester.

➢ Students must be enrolled for a minimum of two hours during the semester of graduation. ➢ Graduate Teaching Assistants may still keep their assistantship and receive a tuition waiver

if enrolled in two hours during the semester they plan to graduate (the full-time enrollment requirement does not apply during this semester).

➢ Students who continue to need faculty supervision or to use university facilities (including the library) while working on a thesis or dissertation must register for a minimum of two thesis or dissertation hours every supervised term until they finish their degree.

https://www.usf.edu/arts-sciences/departments/english/graduate/advising-and-forms.aspx






IMPORTANT DATES TO REMEMBER

Dates in italics are tentative

Time Frame to Complete ETD Workshop for Summer 2020 Graduation………….1/13 - 4/29

First Day of Classes January 13

Dr. Martin Luther King Jr. Holiday January 20

Graduation Application Deadline* February 10

PhD Exam Application Deadline (Rhet/Comp) February 17

MFA Deadline to Submit Thesis Draft to Director for Circulation* February 21

MA Deadline to Submit Thesis Draft to Director for Circulation* February 21

Deadline to Submit Dissertation Draft to Director for Circulation* March 6

USF Spring Break March 16 - 22

PhD Qualifying Exam Dates (Rhet/Comp) March 23 - 30

MA Thesis Defense Deadline* March 13

Thesis Final Submission Deadline* March 20 Includes ETD Registration.

Deadline to Submit Portfolio to Committee Chair for Circulation* March 20

Last Day to Drop Class(es) without Academic Penalty (no refund) March 28

Registration for Summer/Fall 2020 Classes Begins March 30

Dissertation Defense Deadline* March 27 Request form must be submitted at least three weeks prior to defense.

Dissertation Final Submission Deadline* April 3 Includes ETD Registration.

PhD Portfolio Defense Deadline (Literature) April 10

MA Portfolio Defense Deadline* April 10 Request form must be submitted at least three weeks prior to defense.

Doctoral Candidacy Request Deadline for Summer 20 Candidacy April 20 Dissertation committee must be on file prior to submitting candidacy request.

Last Day of Classes April 29

Final Exam Week May 2-7

Commencement (Tampa) May 7-9

* Required for students graduating in Spring 2020

http://www.usf.edu/registrar/resources/graduation.aspx

http://www.usf.edu/registrar/resources/graduation.aspx



http://www.grad.usf.edu/ETD-res-main.php








http://www.grad.usf.edu/student-forms.php

http://www.grad.usf.edu/student-forms.php





TENTATIVE Fall 2020 Graduate Courses

# Course Number

Course Title Professor

TBD

Documents

GRADUATE BULLETIN...Spring 2020 – Graduate Bulletin – Page 3 University of South Florida Department of English structures and traditional ways of thinking.” Exploring the boundaries