ENGL 110
College Composition I:  Expository Writing
3 credits

The object of this course is to train students in techniques of college-level reading and writing so they become active participants in the projects of analysis and interpretation that constitute the work of the university.

In a flexible workshop setting, you will learn strategies of revision and intellectual reflection, learning how to work recursively as you read, re-read, write, and re-write intellectually challenging essays that mediate between theoretical frameworks and real-world examples (both personal and cultural). While the focus of the course is on “expository”, scholarly prose, you will read a variety of texts (paintings, advertisements, videos, buildings, automobiles, etc.).

With the help of the instructor and your peers, you will draft, critique, and revise your work, building a collection of rough drafts and final drafts for evaluation by the instructor. Grading criteria and common expectations for the amount and kinds of writing to be produced in the course are spelled out in the course packet distributed to each student at the beginning of the semester.

Required Text:
     Varies with instructor

Required Textbook:
     Fromkin, Rodman, and Hyams (2007). An Introduction to Language. 8th ed. Boston: Thomson & Wadsworth.

ENGL 209
Introduction to Linguistics
3 credits

Michelle Sauer
12:30-1:45 TR

Linguistics is the scientific study of language. It endeavors to answer the question--what is language and how is represented in the mind? Linguists focus on describing and explaining language and are not concerned with the prescriptive rules of the language. The underlying goal of the linguist is to try to discover the universals concerning language; thus, this class will explore the nature of human language. Topics include the intricate system that governs language, how it is acquired, the similarities and differences among languages, and how spoken (and signed) language relates to written language, among others. Some topics we will touch on include: phonetics, phonology, morphology, syntax, semantics, and language acquisition. It is important to recognize that linguistics is a social science that shares common ground with other social sciences, but also influences other disciplines such as English, communication studies, and computer science.

This class will introduce you to the basics of film production, narrative, performance, style, cinematography, editing, sound, etc. It will also expose you to a variety of films produced in the U.S. and other countries from the very beginnings of the medium in the 1890s, through the so-called "silent era" of the 1910s-20s and the "golden age" of Hollywood in the 1930s-50s, up to the present, including some films in foreign languages with English subtitles. Students interested only in the latest Hollywood hits are in the wrong class and should drop immediately to make room for serious students. We will be viewing films to see how they function as commercial/entertainment/artistic artifacts, as well as how we might place them within certain historical/cultural perspectives, and why these ways of seeing film might be more or less important to us as viewers. You will learn how filmmakers can guide and manipulate audience response. By the end of this class you will become adept at viewing films with an eye toward how they affect you as a person. There will be two papers and three unit tests, but no comprehensive final exam.

Our text will be Richard Barsam's "Looking at Movies" (second edition), which comes with two DVDs of tutorials and short films.

Designed as an introduction, the focus of this course will be on learning to read, recognize, and analyze basic elements of the genres of fiction and poetry with a goal of producing our own. Simply put, we’ll look at good stuff and try to steal something.

This is a course for anyone interested in stories or moved by the power of words. It is not necessary to have previous experience in literary studies. What is necessary is a willingness to participate and try something new. Students enrolled will participate in readings, discussion, and production of both literary fiction and poetry. Our emphasis will not be on perfection, but on revision, practice, theory, and understanding.

ENGL 226
Introduction to Creative Writing
3 credits

Jennifer Robinette
12:00-12:50 MWF

This course introduces students to the arts of writing literary fiction and poetry.  Throughout the semester it will become clear that creative writing, while enjoyable and rewarding, also involves a great deal of hard work:  namely, practice and revision.  I do not expect students to dazzle me with their talents; rather, I am looking for effort, improvement, application of concepts introduced throughout the course, thoughtful evaluation of classmates’ writing, willingness to explore new forms, techniques, and subjects, and, of course, full and generous participation in all workshops and discussions.  All of these things have enriched my own writing life more than I can describe, and I hope to guide students toward a similar experience.

While novel writing is a wonderful challenge, it is beyond the scope of an introductory course.  Therefore, assigned fiction writing will be limited to short stories.

Students are encouraged to take more advanced and/or specific creative writing classes after they have completed this course.  This will give them a chance to further develop the skills they acquire this semester.

ENGL 226
Introduction to Creative Writing
3 credits

Brian Maxwell
2:00-3:15 TR

As an introductory course, the focus of this class will be on learning to read, recognize, and analyze elements conducive to the genres of fiction and poetry in an attempt to better understand the literary aspects of each. This is not a lecture class; students enrolled will participate in readings, discussions, and production of both genres. We will spend part of the semester working toward a better understanding of fiction and poetry as it exists in a literary context; then we will move on to the traditional creative writing workshop format where students will produce their own pieces and submit them for critical assessment and group discussion. Our emphasis will be not on perfection, but on revision, practice, theory, and understanding.

This is an “all comers” course; you don’t have to be an expert in either of the genres, but I expect you to bring effort, energy, and a measure of patience to the class environment. In other words, no prior background in literary studies is necessary. But please come ready to work and appreciate the process and production of the literary arts. We will read across styles and genres, looking to any and each possible point of inspiration and understanding. That means that we’ll be busy reading and writing prose and poetry side by side, perhaps even some creative nonfiction; along the way we’ll be learning about how to distinguish the parameters of each—and maybe even blur them a little. Be prepared to read, write, and enjoy.

ENGL 227
Introduction to Literature and Culture
Topic: Health/Science
3 credits

Yvette Koepke
9:30-10:45 TR

If you’ve ever sought health care or watched “Scrubs,” you know something about “health science.” Everyone has a connection to health science, whether as a patient, as a consumer of popular culture like television shows, or as a career goal. But everyone seems to have different ideas about the meaning of this connection---the meaning of these different roles of patient, consumer, and professional---as highlighted by the debate over health care reform. In this class, we will explore these different possible meanings, or what our culture thinks about these roles, by examining the relationship between “health,” which suggests subjective bodily experience, and “science,” which invokes objective specialized knowledge. Our guiding question will be, how do various perspectives and contexts help us analyze the ongoing construction of “health science”?

As citizens and/or practitioners, shaping the future of health care demands critical thinking skills able to cope with the dizzying rate of change which renders today’s medical information and ethical guidelines rapidly obsolete. This course will develop those skills with an interdisciplinary approach combining creative expression, sociocultural analysis, textual interpretation, personal reflection, historical insight, and ethical deliberation. We will organize our work through the close reading and careful analysis of representations of health science in literature, memoirs, television, films, advertisements, various information sources including websites, and visual art. Integrated writing and discussion will bring student interests and experiences into the classroom.

ENGL 227
Introduction to Literature and Culture
Topic:  Oral Poetics: Hip-Hop, Lyrics, and Poetry
3 credits

Heidi Czerwiec
11:00-12:15 TR

How is Robert Frost like Dr. Dre?  No, this is not a riddle!  Poetry and music lyrics are both based in song – what features do they share in common?  How are they different?  If you take the music away from the lyrics, do the words stand on their own?  In this course, we will discuss all these questions, examining poems from the textbook, slam poetry recordings, and lyrics brought in by students to discover what techniques these artists are using to make their work pleasurable and memorable.  This course will also tie in with the work of Saul Williams and Frank X Walker, two artists appearing at the Writers Conference in March.

Course requirements:

• Regular attendance and active participation in class discussions;
• 1 presentation of song lyrics you select and photocopy for the class to discuss;
• 1 slam poetry performance of a prepared poem;
• 2 shorter analyses (3-5pp.) of individual works, and one longer paper (7-8pp.) comparing techniques used by poets, lyricists, and hip-hop emcees;
• Quizzes and/or tests to test comprehension, if needed.

Text:
     Helen Vendler, Poems, Poets, Poetry, 3rd ed.  (Bedford/St. Martin’s)

ENGL 242
World Literature II
3 credits

Michael Beard
11:00-11:50 MWF

The second course in the survey of world literature picks up where English 241 left off, in the period we call the Renaissance in Europe, and moves up to the twentieth century. 

English 241 is not a requirement.  It’s a self-enclosed course to which newcomers are welcome.    The central purpose, as with English 241, is to familiarize the students with the major works of world literature (those names of books and writers you’ll be hearing all your life.).  An additional goal is to develop two frameworks to help visualize how they are connected.  One is historical:  to put those works in the time stream and describe what kind of societies and what sort of political worlds they come from.  This includes a history of styles, a discussion of the way different literary traditions evolve, how one work influences another, developing different styles and subjects in different cultural areas. The other goal is to find those similarities that stem from common elements in human experience.  Human universals.  I want to ask why we still read some works and why they still appeal to us personally.   

There will be two or three quizzes, a short paper and a final examination.

Texts:
     Balzac, Colonel Chabert (Hesperus)
     The Norton Anthology of World Literature, vols. D,E & F (boxed set), second edition (W.W. Norton, 2002)

But most of all, this course is designed to get people excited about literature. We will read together a selection of poems, plays, stories, novels and films, all written with a specific purpose to delight. Our own study begins with the basic premise that literary texts repay our efforts to read them more carefully and methodically, and that careful study makes for a better story than a casual read.

Designed as the second part of the introduction to the English major, this class surveys the dominant ways of approaching literature, known as “theory.” This knowledge will show you how the discipline works, help you understand your coursework in a larger context, and deepen your ability to analyze texts. At the same time, this class is also about recognizing how and why you already interpret literature in the ways you do, and what the social and political implications of those interpretations are. Rather than an abstract imposition on texts, critical theory arises organically from attempts to interpret texts in various social, political, and economic contexts, and so is something you already do. Critical theory gives us a shared vocabulary to talk about what we do as readers and writers of texts, as thinkers, as historical and cultural subjects; it challenges us to make more thoughtful choices as members of academic and social communities; and enables us to revisit our basic assumptions and values, and try on new ways of thinking. The course will be divided into three parts that balance accessible explanations of critical theory with examples of primary thought, and literary applications with abstract theoretical issues and implications beyond the classroom.

The first part will use The Seagull Reader: A Poetry Anthology and Drown by Junot Diaz to illustrate the premises of major theoretical schools,  including new criticism, structuralism, Marxism, psychoanalysis, poststructuralism, feminism, queer theory, new historicism, critical race theory, cultural studies, and postcolonialism. The second part will explore these theories further as ways of thinking. Working through Lois Tyson’s Critical Theory Today, we will reflect on the broader implications of theory, and what theories suggest about the world. How texts and theories reciprocally illuminate one another will be the focus of the third part of the course, which will use brief excerpts of the work of major theorists alongside Nella Larsen’s Passing and Tim O’Brien’s In the Lake of the Woods as case studies.

ENGL 272
Introduction to Literary Criticism
3 credits

Yvette Koepke
12:30-1:45 TR

Designed as the second part of the introduction to the English major, this class surveys dominant ways of approaching literature, known as “theory.” This knowledge will show you how the discipline works, help you understand your coursework in a larger context, and deepen your ability to analyze texts. At the same time, this class is also about recognizing how and why you already interpret literature in the ways you do, and what the social and political implications of those interpretations are. Critical theory gives us a shared vocabulary to talk about what we do as readers and writers of texts, as thinkers, as historical and cultural subjects; it challenges us to make more thoughtful choices as members of academic and social communities; and enables us to revisit our basic assumptions and values, and try on new ways of thinking. What if there are no texts? What if the author is dead? What if reality is constructed? We will be debating these and other fascinating, crucial questions as we survey the major strains of critical theory that underpin not just the study of literature, but much of the academy. The course will balance accessible explanations of critical theory with examples of primary thought, and applications of theoretical concepts to literary texts with discussion of abstract theoretical issues and implications beyond the classroom.

This is a follow-up course to “Television Script Writing” and “Creative Move Production.” Unlike television-style multi-camera “live-on-tape” studio production, it will employ film-style single-camera procedures. The class will cover how to use camera, lighting, and editing techniques to express visually the themes of a script. Students will produce one or more completed television pilot episodes using scripts written in Kathy King’s Fall 2009 TV scriptwriting section of English 299. Using digital video equipment, class members will take turns performing the various crew functions to gain a broad range of experience. Some time may also be devoted to discussing options for distribution and exhibition for the independent moviemaker. The class may view one or more episodes of “Project Greenlight” depicting the actual production of a film as a reality television series.  Occasional short critical papers may be assigned during the first half of the semester. However, the final grade will depend heavily upon class participation, as the main project for the class will be a group effort (by the whole class or two or more smaller groups, depending upon prior). There will be no exams.

This course is an introduction to British literature written after 1800 – to the periods known as
Romanticism, Victorianism, Modernism, and Postmodernism.  The last two centuries have seen a dramatic growth and a subsequent fragmentation of the reading public in England, and authors writing during this time have had to struggle with the consequences.  Is a writer “a man speaking to men,” or a hero to be worshipped?  Should authors engage the world around them, or escape into their own imaginations?  Can writers reconcile art with popularity, or must they choose one over the other?  Do poetry and prose have natural or appropriate places in the growing split between artistic and popular literature?  Since the proliferation of writing over the last two centuries means that no one can ever read it all, has literary tradition lost its importance?

Texts:
     Schoen, The Truth About Fiction
     Williford and Martone, The Scibner Anthology of Contemporary Short Fiction

This course’s focus will be the essay.  We will read “creative” essays by noted writers like Annie Dillard, Stephen Jay Gould, and Cynthia Ozick and will write our own masterpieces modeled on what we’re reading and analyzing.  By semester’s end, you will have produced three polished essays, which we will send out into the world in some fashion, either through a class website or through a publication you can distribute (or sell!) to friends and family.  Course grading will come from these three formal essays, from daily writing prompts, and from grades on participation in class and workshops.

Course texts:
     Atwan, Robert.  Best American Essays, 5th College Edition. 
     Williams, Joseph.  Style: Ten Lessons in Clarity and Grace.  7th Edition.

This course will explore our recurring fascination with figures of noncompliant female in Western culture, from the disobedient daughters and wives of Greek tragedies and the Bible to Girls Gone Wild, Sarah Palin, and Amy Winehouse.  How are we to read stories of women’s anger and dissent today, when notions of “transgression” and “resistance” are commonly trafficked by corporate interests, fashion magazines, and self-help booksto discipline women’s fantasies of freedom and pleasure?   This course will explore the place of contemporary women writers and artists whose work addresses complicated questions of sexual desire and political action represented in fiction, film, and music by women.  Special attention will be given to the UND Writers’ Conference, March 23-27, titled “Mind the Gap.”  Required texts include Karen Russell’s St Lucy’s Home for Girls Raised by Wolves  and Lorrie Moore’s Gate at the Stairs, and Elizabeth Hand’s Generation Loss.   Films include Lars Von Trier’s Breaking the Waves and Nellie Kaplan’s A Very Curious Girl.

Frequent writing assignments, a class project, and two papers will be assigned. 

Requirements: Several short papers, a midterm and final exam, and in-class writing assignments

Texts:
     Paulsen, Hatchet
     Sachar, Holes
     Boyne, The Boy in the Striped Pajamas
     Zusak, The Book Thief
     Cormier, I am the Cheese
     Rowling, Harry Potter and the Sorcerer’s Stone
     Lowry, The Giver
     Anderson, Speak
     Alexie, The Absolutely True Diary of a Part-Time Indian
     Donnelly, A Northern Light
     Watson, Montana 1948

We start the course with a short documentary called A Jew Is Not One Thing, a film produced for a multi-media art exhibit on Jewish culture and history.  By the end of the course, students will understand the significance of the title to the film, and will be able to identify and analyze varied frameworks of thought emerging from Jewish tradition.  Students will also be able to conceptualize questions about human experience in terms and categories framed within Jewish tradition.

“Modernism” is a dumb name.  If “modern” means “contemporary,” how do we account for the details that “modernism goes back a century?  Somehow, however, during the movement intellectuals lived through at the turn of the 20th century, the word stuck in place.  Still we have to use it.  It’s the name.

The goal is to combine two discordant points of view.  On the on hand modernist works tend to operate as rejections of parent traditions, an absolute break with its influences (see false titles above), and this is true in England and on the continent. Modernism is a refusal to follow the rules. The other point of view, which runs counter to the revolutionary one, will emerge as we read examples from a number of cultures and compare them.  We will find that one work influences a previous one.  (If this point of view had dominated, I could have used “Modernism as tradition” for a title.)

Greil Marcus’s Lipstick Traces: a secret history of the twentieth century (1989) will be the spine of the course.  It’s appropriate for many reasons, not least because it traces history backward, from the 1970s back to the late 19th century. The other readings will be examples of modernist works, Lautréamont’s Maldoror, Rimbaud’s Season in Hell, the manifestos of newness which proliferated after the 1st World War, the poetry of Andé Breton, Apollinaire, T.S. Eliot and Ezra Pound, some via Blackboard, plus as many books as I can wedge in without making the book orders too expensive.

ENGL 407
Studies in 20th Century Literature:  Hypertexts and New Media
3 credits

Crystal Alberts
12:30-1:45 TR

Email, Facebook, Twitter, Google—we live in a world that relies on being able to communicate with anyone and/or find information via the Internet anytime anywhere.  What many people don’t realize is that authors are also using emerging technologies to create new forms of literature.  Electronic literature (e-lit) is defined as “born digital” texts that were never intended to appear in print.  In fact, as many of these works involve sound, motion, and image, as well as text, they CANNOT be represented on a paper page. In this class, we will learn about the various genres of e-lit, such as hypertext, interactive fiction (IF), flash poetry, stir fry texts, and chatterbots.  We will interpret works by the pioneers of this field, including Shelley Jackson, Stuart Moulthrop, Deena Larsen, and Mark Amerika.  In addition, we will read works that explain e-lit by N. Katherine Hayles, Joseph Tabbi, and Nick Montfort, among others.  Fortunately, a number of these e-lit authors will be on campus for the 2010 UND Writers Conference, giving students a chance to speak directly to these creators.  Consequently, part of the class requirements will be to attend conference events.

Possible texts may include:
     Victory Garden, Stuart Moulthrop
     Patchwork Girl by Mary/Shelley & Herself, Shelley Jackson
     afternoon: a story, Michael Joyce
     Lexia to Perplexia, Talan Memmott
     Grammatron, Mark Amerika
     Samplers: Nine Vicious Little Hypertexts, Deena Larsen
     Selections from the Electronic Literature Collection, volumes 1 and 2
     The New Media Reader, eds. Nick Montfort and Noah Wardrip-Fruin

This workshop will combine intermediate and advanced classes, and will challenge all levels to expand on your knowledge of poetic craft.  Through class discussions, readings, and assignments, we will go further in-depth into such tools as use of language, form, line breaks, sound effects, ways to construct the speaker, and revision.  Class time will be split between discussions of craft and workshops of student poems.  Advanced students (those who have already taken 226 AND 307, or another 400-level poetry workshop) will be asked to do some extra work (lead an occasional discussion and turn in a more extensive portfolio) in order to receive advanced credit.  Exceptional students may be invited to attend a workshop with Frank X Walker during the Writers Conference in March.

Course requirements:

• Regular attendance and active participation in class discussions
• About one original poem per week (poems will be split between assigned exercises and self-directed work), with photocopies for classmates
• Specific comments on class members’ poems for workshop
• Portfolio of revised work at end of semester

Text:
     Helen Vendler, Poems, Poets, Poetry, 3rd ed.  (Bedford/St. Martin’s).

Over the course of the semester, we’ll read tales about soldiers and forts, women fighting to maintain home and family, immigrants struggling to make a life, and settlers encountering “native” peoples of Africa, Australia and North America.  We will pair these primary texts with criticism introducing theories and ideas useful for better understanding the frontier, like “the contact zone,” the captivity narrative, the lost child motif, the “vanishing Indian,” representations of landscape and ecology, and depictions of animals as real and symbolic.

Undergraduates and graduate students wanting to explore a rich topic in depth are very welcome.  No prior knowledge of these national literatures or histories is required; we’ll learn about them together.  Grading will come from daily reading responses and one short and one longer critical essay exploring the course texts and themes.  Graduate students will have additional work beyond that of undergraduates, including a pedagogical assignment.

Primary texts for the course (many available to download for free on the internet):
     John Richardson’s Waucousta: or The Prophesy (1832) (Canadian)
     Marcus Clark’s For the Term of his Natural Life (1872) (Australian)
     Olive Schreiner’s Story of an African Farm (1883) (South African)
     James Fenimore Cooper's The Deerslayer: or The First Warpath (1841) (American)
     William Gilmore Sims’ The Yemassee: A Romance of Carolina (1835) (American
     Catherine Parr Traill’s The Backwoods of Canada (1836) (Canadian)
     John Robinson’s George Linton: Or The First Years Of An English Colony (1876) (South African)
     Henry Kingsley’s, The Recollections of Geoffry Hamlyn (1860) (Australian)
     Critical materials available through blackboard

ENGL 415
Special Topic in Literature:  Survey of the English Novel II
3 credits

Michael Flynn
12:00-12:50 MWF

The novel is such a dominant feature of today’s literary landscape that it can be hard to imagine a time without it.  But as its name indicates, the genre is a relatively new one; while the epic poem and the tragic play, for instance, have histories stretching back thousands of years, the novel has only been around since the early eighteenth century.  Genres, like biological organisms, develop rapidly in their youth, and the novel has grown at an astonishing pace in the last hundred and fifty years.  Victorians who read their age’s “large loose baggy monsters” to while away the hours on railroad trips would have been bewildered by the artfully constructed and densely experimental texts being written just a few generations later.

This course is the second of two that will survey the history of the English novel, and will trace the genre from 1850 to the present day.  We’ll talk about the novel’s division into two disparate branches – pop lit and art – a division which is inescapable today because of the specialization of publishers and the shelving strategies of libraries and bookstores.  We’ll discuss the emergence of short fiction and the novella, a delayed process which occurs more than half a century later than it does in America.  And we’ll watch the novel respond to the rise of modern psychology, to the growing influence of moral and epistemological relativism, and to the increasingly undeniable truth that the twentieth- and twenty-first-century world is far too complex for any one individual to comprehend.

The first course in the sequence was offered in the fall, and traced the career of the English novel from its emergence in the 1710s up to about 1850.  But this course will stand on its own, and students are more than welcome to take it whether or not they enrolled in the first.

Texts:
     Wilkie Collins, The Woman in White (1859-60)
     Henry James, Daisy Miller (1878) and The Turn of the Screw (1898)
     Joseph Conrad, Lord Jim (1899-1900)
     D. H. Lawrence, The Rainbow (1915)
     Virginia Woolf, To the Lighthouse (1927)
     James Joyce, A Portrait of the Artist as a Young Man (1914-15)
     John Fowles, The French Lieutenant’s Woman (1969)

This course focuses on second language learning and teaching on the basis of findings from recent second language learning research.  Topics for this course include how L2 learners acquire grammatical morphemes of English, pronunciation, vocabulary; and different processes in using second language, language input; second language teaching styles; and several important models in second language acquisition. 

Course requirements: take-home assignments and examinations.

Required Textbook:
     V. Cook (2008).  Second Language Learning and Language Teaching. 4th ed.  London: Hodder Education.

"Authorial intention" has been dismissed as irrelevant or unknowable, but many authors made it quite clear that they felt very strongly about the words they chose and the punctuation they used – not a surprise, really. And, as Philip Gaskell says in From Writer to Reader, "By combining critical judgment with an understanding of textual bibliography, an editor can establish a 'critical' text that is as authoritative as the evidence allows." We can determine fairly accurately what many authors actually wrote, an operation that is especially important for texts that have been "corrupted" through careless production by publishers intent only on profit or, more benignly, unaware that most writers care very much about what words represent their ideas.

We will study, among other things,

• The history of the book -- and learn why Gutenberg’s Bible is NOT the "first book"
• The various forms of bibliography beyond just a list of books -- “bibliography” meaning, literally, writing about the book
• Editorial theory, especially Jerome McGann’s concept of the socialization of the text (Google “Rossetti Archive” to see a stunning example of scholarly editing combined with digital resources)
• How and why scholarly editing is practiced today – with examples drawn from an on-going editing project in the English department, Victorian Literature and Culture.

Students will do an editing project of their choice, which may involve on-line presentation.

Required Texts:
     An Introduction to Bibliographical and Textual Studies, fourth edition, W.P. Williams and
          C.S. Abbott. MLA, 2009
     Electronic Textual Editing, ed. Burnard, O’Keeffe, and Unsworth, MLA, 2006
     Other recommended books

-- American novelists and essayists whose writing grapples with philosophy, politics, race, economics, democracy, religion, and abolition during the early national and antebellum eras.

--  a range of German thinkers also interested in philosophy, politics, economics, race, democracy, and religion.

We’ll launch the seminar by reading and critiquing Eric Hobsbawm’s historical study The Age of Revolution: 1789-1848, which offers cross-national analysis of the 18th century American and French Revolutions, in addition to analyzing social and cultural developments across Europe leading up to the 1848 revolutions. We’ll look (via handouts) at sections of Daniel Howe’s recent Pulitzer Prize winning book What Hath God Wrought:: The Transformation of America, 1815-1848, and read several other historical analyses, with a focus on abolition and various forms of early 19th century American socialism.

Our primary texts will include:
     Wieland  (novel)  Charles Brockden Brown
     Essays by Ralph Waldo Emerson
     Harz Journey (essays)  Heinrich Heine
     Clotel, or the President’s Daughter  William Wells Brown
     Collected works of Georg Buchner (plays, stories, essays)
     The Blithedale Romance (novel) Nathaniel Hawthorne
     Uncle Tom’s Cabin  (novel) Harriet Beecher Stowe

In addition, we’ll read and discuss a range of shorter selections, via handouts and digital editions of writings by: David Walker, Maria Stewart, Thomas Paine, Margaret Fuller, Moses Mendelssohn, Karl Marx, Ottilie Assing, and Ludwig Feuerbach.