Fall 2011 Course Descriptions
ENG 101 - COMPOSITION I - All Sections
Review of fundamentals of writing for students with problems in writing skills so that they may continue successfully in ENG 102.
ENG 102 - COMPOSITION II - All Sections
Practice in college level writing, includes preparation of a research paper.
ENG 204 - WRITING ABOUT LITERATURE - All Sections
Exploration of our own language use through the lens of literature, and exploration of literary language from the perspective we create with our own uses of language. We will study narrative, verse, and drama and one or two additional novels and plays. Approximately six essays.
ENG 210 - WESTERN HERITAGE I: LITERATURE - Bertonneau
[Context]
MWF 12:40
Western Heritage offers a survey of keystone primary texts indicative of the specifically western civilizational experience ranging from Homer's Odyssey and the work of the Attic tragedians through Hellenistic romance, Latin epic, Latin Late Antique prose, and early Christian evangelical writing to myths and narratives of the Gothic barbarians. The sequence of assigned texts provides the occasion to address the question of order - social, political, intellectual, and artistic - and its continuity in an identifiable western tradition with roots in Greek thought, Hebrew ethics, and Latin and Gothic notions of law and propriety. Socially, the course travels from the archaic Polis or city-state to feudalism. English 210 is a reading-intensive course, which also offers an opportunity for students to hone their critical and interpretive skills.
ENG 211 - WESTERN HERITAGE II: LITERATURE - Blissert
[Context]
MWF 1:50
A continuation of ENG 210, this course introduces students to the works of acknowledged literary masters from the Renaissance to the present, selected to reflect varied genres, literary movements, and cultural backgrounds. Readings include works by such authors as Shakespeare, De LaFayette, Milton, Moliere, Voltaire, Keats, Dickens, Chekhov, Ibsen, Yeats, Woolf, Chopin, Faulkner, Duras, Lessing, Camus, and Achebe.
ENG 220 - MODERN CULTURE AND MEDIA - Halferty
[Text]
TR 11:10, 2:20
Do television shows like The Sopranos or Rescue Me challenge or merely reinforce ethnic stereotypes? Why are there so few television shows that feature blue-collar workers? Will network television ever depict gay characters who are fully-developed and multi-dimensional? What can we learn about American ideals/values from the Billboard Hot 100, top-grossing movie lists, and The New York Times bestseller lists? To what degree does advertising influence the way you spend your money? This section of English 220 is designed to help you develop the skills of literary study by presenting an opportunity to consider questions like these, and by giving you the chance to draw on what you know: your expertise in pop culture. Our work in class will focus mainly on discussing the assigned topics/readings in detail. Your work outside of class will consist of keeping up with the reading schedule; writing one fully-developed analysis paper incorporating research; completing a variety of shorter writing assignments (both in and out of class); keeping a pop culture log; participating in group assignments; and completing a creative project at the end of the semester. This is a discussion course rather than a lecture course, so good attendance and participation will be crucial.
ENG 237 - ETHNICITY & CULTURAL DIFFERENCES - Holt-Fortin
[Context]
11:10
This course will focus on a variety of texts and media-¬novels, poetry, short stories, essays, and film¬-that explore issues of ethnic identity and difference within American culture. One of the principal issues we will examine is the meaning (or multiple meanings) of "American" as part of ethnic labels such as Asian American, African American, and Latino American. Participation in class discussion, quizzes, and papers will be required.
ENG 265 - SOPHOMORE SEMINAR IN GENRE - Cooper
TR 11:10
"Passing" in the early British Novel: the Connection between Genre and Identity
"Passing" describes an act of deception, when someone chooses to exploit people's assumptions about their identity, and then uses the misunderstanding to their social advantage. This course examines the connection between literary form and the obsession with people who might be passing, and how portrayals of passing reflect psycho-social anxieties about the conflict between public and private identity. We will consider how upheavals in traditional social classification systems brought about by colonialism and commercialism further problematized notions of gender and class, which were usually thought to be the most salient features of an individual's identity. The genre theories of Mikhail Bakhtin, Michael McKeon and others will assist our reading of two novels by leading writers of the 1700s, one male and one female.
ENG 265 - SOPHOMORE SEMINAR IN GENRE - DeBarros
MWF 11:30, 12:40
Epic Masculinities
The title of this course may seem somewhat awkwardly overstated or just plain redundant in that the epic genre is by definition traditionally concerned with the heroic, nation- or empire-forging qualities and actions of exemplary men during times of war. But what this title seeks to highlight and what this course will examine is just how complexly diverse and even conflicted epic poems (from Homer’s Iliad to Milton’s Paradise Regained) are about what it means to be and act like a “real” man. In particular, we will be concerned with the way in which several related but historically distinct strains of thought— such as, ancient stoicism and anti-materialistic Christian pacifism— raise serious ethical questions about imperialism and the violent masculinity that it promotes. As we situate each poem within its ethical-historical context, we will also examine how each poet employs the conventions of the genre— such as, the role of the gods/God in human emotions and actions as well as the epic simile— to create and potentially answer those questions.
ENG 271 - PRACTICAL ENGLISH GRAMMAR - Murphy, M.
MWF 10:20
Designed for students intending to teach, this course focuses on teaching grammar in the context of writing. A broad review of parts of speech, the syntax of complex sentences, and the conventions of standard usage will be supplemented by attention to the relation between standard and non-standard dialects, as well as to dealing with dialect difference in the classroom and in written work. Graded work includes exams, tutoring, teaching a mini-lesson, and the maintenance of a journal of observed usages.
ENG 286 - INTRODUCTION TO CINEMA STUDIES - Schaber
TR 2:20
Lab T 6 pm
An introduction to the history and theory of cinema for first-year majors only. Three take-home exams and two or three group film projects required. Texts: 1. Thomas Elsaesser and Malte Hagener, Film Theory: An Introduction Through The Senses (Routledge) 9780415801010. 2. David Bordwell and Kristen Thompson, Film Art (McGraw-Hill) 9780073386164.
ENG 302 - ADVANCED COMPOSITION - Murphy, M.
MWF 11:30
Ever wonder why it is that your professors write papers so filled with quotations and summaries of other people's writing - and why they ask you to write them, too? Or why they demand such careful attention to where someone else's language ends and yours begins? Are you puzzled by the specific conventions of citation - when to quote and when to paraphrase, what counts as "common knowledge," how to paraphrase appropriately, etc. - or by what "research papers" are for exactly? In this section of ENG 302 focused on sourced writing, students will analyze the citation conventions of work in their own disciplines and prepare a major research paper, likely built around some idea they've already developed in previous coursework. Supporting projects will include a paper identifying some pressing disciplinary question or problem as well as an annotated bibliography designed to assess the state of the conversation surrounding that question or problem. NOTE: This course will meet in conjunction with ENG 395/595: Authorship, Originality, and Intellectual Property and will share many of that course's readings and activities, though its requirements will be different.
ENG 304 - LITERARY CRITICISM - Murphy, P.
TR 2:20
This course focuses upon some interpretive strategies in, for instance, structuralism, psychoanalysis, Marxism, post-structuralism, postmodernism, and cultural materialism. We will also examine some developments within (and combinations of) these positions including feminism, gay and lesbian studies, and structural anthropology. In reading both theory and criticism along with several specific literary texts, we will examine how literary criticism is fashioned, what is at stake in its arguments, and why literary criticism provides its own unique kinds of political, philosophical, and poetic knowledge. Typically there are four or five papers, a take-home examination, and a final exam.
ENG 304 - LITERARY CRITICISM - O'Shea
MWF 1:50
A survey of Modern and Contemporary Literary Criticism and Theory from the New Criticism to Post-Structuralism. While the course is intended as an overview of movements and trends, recurrent topics will include the nature of literary study today, changing notions of text and reader and issues of gender and culture. Mostly discussion, but also considerable close reading of critical texts. Midterm and final exams. 2 papers, one with a research component.
ENG 304 - LITERARY CRITICISM - Cooper
TR 9:35
The Establishment of the Subject in Western Critical Theory
Beginning with Descartes, and proceeding through Locke, Rousseau and Kant, we will consider how the major philosophical shifts of the seventeenth and eighteenth centuries established the idea of the "subject,"-an individual consciousness or thinking identity (rather like a self or an individual)-as the center of experience and knowledge, and how that subject became taken for granted in literary criticism. We will look for continuities between Enlightenment principles of subjectivity and later psychoanalytic theories of Freud and Fanon. Finally, we will look at postmodern movements as well as contemporary theorists Spivak and Irigaray on gender and race, that question assumptions about who the Western subject is, what socio-political processes produced them, why and how they are represented in literature and what it is that he/she supposedly desires. Besides examinations and reading quizzes, each student will contribute a presentation that involves locating a literary artifact from their own experience, and applying a critical theory from class to their interpretive reading of the artifact.
ENG 319 - INTRODUCTION TO SHAKESPEARE - DeBarros
MWF 3:00
[Text]
Shakespeare and the Language of Sexual Violence/Eng 319:
Sometime ago Terry Eagleton, a prominent literary critic, reflected on his early encounter with Shakespeare as a university student:
[I]n Cambridge the air was thick with convoluted syntax, elaborate expressiveness, lexical dexterity, rhetorical virtuosity. . . Shakespeare’s inability to shut up, his grating habit of rattling on through sub-clause after sub-clause with not an emotional nuance or conceptual aspect left unelaborated, struck me as peculiarly tactless and overblown, an excessive garrulousness for which the closest analogy seemed the endless middle-class gushing and twittering [at Cambridge]. . . Shakespeare showed me two things: first, that language was power; secondly, that I had neither. (“Afterword,” The Shakespeare Myth 203)
This semester we will, no doubt, wrestle with Shakespeare’s “inability to shut up” in nine plays, one verse narrative, and select sonnets, and we will likely find him, at times, grating, tactless, and overblown. What Eagleton’s frank reflection helps us understand is the complexity of Shakespeare’s language as a reflection of the middle-class privilege that excluded him as a working-class student at Cambridge; that the way we experience Shakespeare— or anything— is inextricable tied up to the class and cultural baggage that we bring to that experience. As we labor over sub-clause after sub-clause, moving between marginal notes and footnotes to figure out what’s going on in each text, we will question the way Shakespeare’s language makes us feel—whether it heightens our sense of linguistic powerlessness; whether it empowers us or at least makes us feel empowered; and whether it represents for us the promise or denial of class privilege that it represented for Eagleton. In a question, what has Shakespeare’s garrulousness come to mean in our visually dominant and verbally economical (or perhaps impoverished) information age?
To supplement this linguistic focus, we will also spend a great deal of our time situating Shakespeare’s texts within their historical contexts and attempting to work through some of their underlying cultural assumptions concerning the politics of sexual violence. Reflecting the classically-based grammar school education of early modern England, the topos of the pursued, abused and/or raped woman recurs throughout Shakespeare’s oeuvre as well as much of the period’s literary and political production. We will start simply by asking why: why were sixteenth- and early seventeenth century grammar school boys taught these classical stories? And why and how did they creatively re-tell them as adults? Of course, there are no easy answers to these questions, but we will be engaged in a careful, theoretically and interpretively attentive process of re-constructing a range of plausible answers.
ENG 323 - 20th CENTURY BRITISH FICTION - O'Shea
[Text]
MWF 12:40
In order to challenge and extend the course title, we will begin and end with two Irish writers, James Joyce and Colm Toibin, and at least one title from the 21st century. In between we will read some more arguably "British" Modernist writers, E.M. Forster, Virginia Woolf and D.H. Lawrence as well ask some later writers who are more difficult to categorize like A.S. Byatt and Zadie Smith. A total of nine novels. Requirements: Two shorter analytical / synthetic essays; mid-term and final exams.
ENG 326 - ENGLISH DRAMA: CITY COMEDY AND REVENGE TRAGEDY - Cooper
[Text]
TR 2:20
After the death of Queen Elizabeth in 1603, and the advent of King James and the Scottish Stuart monarchs, English drama turned to the dark side. Plays like John Webster's The White Devil exploited boy actors in feminine garb to evoke a sense of loathing and terror of unnatural female desire, even while exalting women's supposed natural modesty. Men, however, were portrayed as just as manipulative and conniving. The zero-sum of amorality, brought on by a rapacious lust for sex, money and political power, delivered a massive body count by the tragedy's end. In the comedies, violence came in the form of witty attacks. Middleton's and Dekker's The Roaring Girl used the real-life cross-dressing figure of Moll Cutpurse, a famous female criminal who liked to go about in men's attire, to satirize both the privileged decadence of the aristocracy as well as the pretensions of the new "cits," or middle-class citizens who were starting to come into their own. Ben Jonson, one of the more intellectual wits of the time, used the female figure to express the mystique of foreign wonders encountered by English colonizers in Africa and the Americas. Jonson explored the symbolic value of dark African beauty when set off against a heroicized England in The Masque of Blackness, a court masque performed by and for the elite social class at the king's court. Women writers had to be careful of their reputations, but were active on the down-low of the literary circuit. Elizabeth Cary's closet drama, Mariam, the Fair Queen of Jewry, was circulated among a wide circle of friends and admirers, but never publicly performed. All this dramatic productivity would be interrupted by the English civil war of the 1640s, when class and religious conflicts led to the beheading of the king, and the shutdown of the majority of theatrical outlets for nearly two decades.
ENG 332 - REALISM AND NATURALISM IN AMERICAN LITERATURE - Blissert
[Context]
MWF 12:40
This course will study American writing between 1860 and 1900, with an emphasis on the new concentrations of social power appearing at this time. Writers such as Twain, James, Howells, Crane and others confronted these emerging forms of power and reacted to them. Remarkably, their responses evoke not only new visions of social life, but also creative abilities for literary form. Course requirements include tests, critical essays, and a final exam.
ENG 333 - 20th CENTURY AMERICAN LITERATURE - Bertonneau
[Context]
MWF 3:00
This course will focus on the "modernist" revolution in literary styles that occurred early in this century, with the aim of identifying basic relationships between historical events and the stances of individual writers. This pattern of radical experimentation in form and the search for a meaningful social vision will be followed in American writing from 1910 to 1950. Course requirements include 2 critical essays, tests and a final examination.
ENG 337 - AFRICAN-AMERICAN LITERATURE - Clark
[Context]
TR 11:10
From New Negroes to Colored Girls and Beyond: An Overview
This course will cover some of the works-literature, film, music, and other media-produced from the turn of the twentieth century to present day, during the periods known as the New Negro (Harlem) Renaissance, the Black Arts/Black Power Movement, and the New Black Aesthetic (Hip Hop). While the works we will read, listen to, and view will be understood within their respective historical and cultural contexts, we will interrogate the value and usefulness of marking off these cultural moments; more specifically, how might we read, analyze, and write about a work published in the 1920s in ways that resonate with meaning, cultural value, etc. to a twenty-first century audience? How do performances of racial passing in the 1920s compare to those in the 2000s? What do "colored girls" in the 1970s have in common with those in the 2000s? Some of the works we will read include Plum Bun by Jessie Fauset, The Fire Next Time by James Baldwin, and For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf by Ntozake Shange (the original choreopoem and the films). Course requirements will likely include two short papers, mid-term and final examinations, and oral presentations.
ENG 351 - AMERICAN POETRY SINCE 1945 - Pangborn
[Text]
MWF 10:20
This course surveys the most remarkable poets and poetry in the U.S.A. (and a bit from the rest of North America) between about 1945 and the present day. We will devote most of our class time to close reading and discussion, often with documentary footage of poets reading. Students are expected to read beyond the assigned textbook to produce two well-researched essays and, depending on class size, one in-class presentation.
ENG 360 - LITERATURE IN GLOBAL CONTEXT - Holt-Fortin
[Context]
TR 12:45, 3:55
This class looks at a broad selection of writing from Asia, Africa and Latin American. We focus on work from the second half of the 20th century and the 21st century, looking in a large part at the effects of colonialism and its aftermath. The readings include poetry, short stories, and novels. Work includes weekly writings, a paper, and a final.
ENG 365 - JUNIOR SEMINAR - Pangborn
MWF 12:40
William Carlos Williams and Ezra Pound.
These two writers are arguably the most profound poetic influences on poetry today. We will study their works and lives, examine the network of modernists they largely created, and trace their influences upon those who come after. The class will be conducted seminar style, ideally around a large table to maximize interaction between all class members. Two papers, at least one in-class research presentation, and occasional brief tests will assess student learning.
ENG 365 - JUNIOR SEMINAR - Jayawardane
TR 9:35
English 365, the seminar for juniors in English, is meant to be a course in which we learn how to conduct in-depth analysis of an author. Here, we learn the skills necessary for the next step in your career as a reader capable of injecting theory to your critiques of a writer and her/his body of work, highlighting your skills as a fine researcher ready for your senior year of university. We will work on establishing just who the author is, where she/he is situated in the literary landscape, and how she/he has been "received" by the literary/critical community of readers over time. I decided on Jonathan Safran Foer's work as the vehicle through which we will explore how to do in-depth research. Foer is a contemporary author who writes about pressing, modern concerns with which we feel an immediate affinity: in the first book, Foer searches for the ‘disappeared' lives, landscapes and homes of his Russian-Jewish ancestors in order to better understand his Amercanness and his historical roots; in the second, he addresses the long lasting and terrifying human cost of 9/11/2001, and the resulting ‘War on Terror' though the eyes of a young boy who lost his father in the attacks; in the third book, he reveals the environmental and ethical costs of creating 7 billion eating, wasting, desiring, and demanding consumers in the 21st century. (Apparently, this is the book that made Natalie Portman go hardcore vegan. Yup, not just vegetarian, but vegan.)
1. Everything Is Illuminated by Jonathan Safran Foer
2. Extremely Loud and Incredibly Close by Jonathan Safran Foer
3. Eating Animals by Jonathan Safran Foer
ENG 365 - JUNIOR SEMINAR - LaLonde
T 5:30
For more than fifty years crossblood White Earth Anishinaabe Gerald Vizenor has offered us work that calls into question and complicates our notions of author, text, genre, identity, and the indian. In keeping with Vizenor's teasing spirit, then, let us together "follow the trickroutes" as we think about and discuss what Vizenor's life and corpus teaches us about authors and texts, authority and identity. Students will read a selection of texts, write a number of essays, and sit a number of exams.
ENG 374 - HISTORY OF THE ENGLISH LANGUAGE - Hildahl
TR 3:55
An exploration of the nature of language, and an introduction to the multipicity of the world's languages, those that have thrived and those that have survived into modern time. The course is primarily a study of the historical and social backgrounds and development of English as an Indo-European and Germanic language, and of its position in relation to other Indo-European and non-Indo-European languages. The course is also an inquiry into the influence of ethnicity, migration, and conquest, of the geographical displacement and absorption of non-English-speaking groups in the development of English, and the influences of diverse languages and cultures on the English word-stock. We will address the issues of linguistic diversity and tolerance in complex, heterogeneous present-day society.
Students will need to acquire:
a) the terminology and the linguistic concepts to understand the internal structure of the English language and the internal changes it has undergone;
b) the phonological tools to describe the grammatical and sound changes that have altered the language over time and distance, i.e., the symbols which comprise the phonetic alphabet [IPA] and the sounds they represent.
Texts: Pyles and Algeo, Origins and Development of the English Language, 4th ed.
McCrum, Cran, MacNeil. The Story of English, 3rd ed.
Algeo, Problems in the Origins and Development of the English Language [workbook]
Requirements:
Two papers: one etymological study; one paper with research
Mid-Term Exam, Final Exam; several quizzes the universe, and everything.
ENG 375 - THEORIES OF DIVERSE SEXUALITY - Murphy, P.
[Theory]
T 6:00
This course will survey recent controversies and intellectual issues within (and among) the lesbian, gay, bisexual, queer, transgendered, and transsexual communities, along with the prevailing (heterosexual) culture, in order to identify recurrent problems, questions, or conflicts and opportunities that may profit from theoretical and literary reflection. We will try to locate those problems and possibilities within historical contexts that might place them in a different light--specifically by raising questions about how we determine what a relevant context is. We will try to appraise what people ordinarily find themselves saying (both pro and con) when they talk about sexuality (or when they represent diverse sexuality in literature or art), while we study the rich discourses from where various phrases emerge. We will ask other questions as well, such as: What historical, political, cultural, and personal conditions are served by diverse experiences of sexuality? This inquiry will also examine heterosexism, homophobia, outing, and coming out of the closet, among other topics. Why do we talk the way we do about our sexual identities? (And all the while we will be asking: Why is sex so much fun?) How do we construct and perform our sexual identities? To what conditions might this construction answer? Does this way of talking (and living) have a history? If so, can we discover what that history might be, and can we solve some of our difficulties by understanding those histories (and perhaps by finding more adequate ways of speaking and thinking about them and our diverse sexual lives)? Can our sexualities not only record our history, but might they also be able to act upon history in ways that change or alter the world? This course is designed to fulfill the "theories" component of the English program as well as an Intellectual Issues requirement for General Education. It also serves the Women's Studies program.
ENG 380 - NARRATIVES OF IDENTITY - Hildahl
[Context]
TR 12:45
The readings will focus on the intersection of the self and the society in which the narrator, author or protagonist lives. We will examine accounts of characters who attempt to live in a society while intending to survive as individuals, either in conformity with the society or in spite of its pressures. We will focus especially on the lives of persons who live in one society but between cultures, caught between the dominant culture and a sub-culture or alternate society, or between the person's present society and the culture of one's origins, or one's family's origins. We will also examine the situation of individuals who attempt to separate themselves from the pressures and definitions of the society to which they were born, or from the family or figures of authority who gave them their personhood.
We will consider too the sources of personal identity as presented in different texts, and the questions of whether one's identity is an absolute, a given, created before or conferred at one's birth, whether one's character is constructed by the culture in which one grows and lives, or whether character and identity can be substantially chosen and fashioned by oneself. Some of the texts we will read are self-evidently fictitious. Others are biographical, autobiographical, historical, or quasi-historical.
Among the readings:
Stories by William Faulkner
Amy Tan's The Joy Luck Club
Frederick Douglass's Narrative of the Life of an American Slave
Mark Twain's Pudd'nhead Wilson
Witi Ihimaera's The Whale Rider
Selected Iroquois tales by Joseph Bruchac, from Turtle Meat & Other Stories
Sophocles' Oedipus the King and Antigone
Jean de Coras's The Return of Martin Guerre
Requirements: A reading journal, with every-class entries; four or five essays written from one's journal. Mid-Term Exam; Final Exam.
ENG 385 - CHILDREN'S LITERATURE - Troy Smith
[Text]
MWF 9:10
A survey course of literature for children. Not a course in methodology, the basic purpose of this course will be to survey the various genres of literature that have been written especially for children (approximately 2-14 years of age), or literature that was originally written for adults, but now has generally been relegated to children. The genres include: picture books, nursery rhymes, folk literature, modern fantasy, realistic fiction, poetry, and information books. Criteria will be established for literary evaluation. Certain social issues such as sex, sexism, and violence will be discussed in terms of children's books.
ENG 386 - CINEMA - Shore
[Theory]
MWF 10:20
Lab M 7-9
The course amounts to an extended inquiry into the question: "What is a film, what can it do?" To this end we will view a series of films and situate them in relation to: film history, the history of images and of visuality, genre directors and actors, narration, time, movement and gesture, and the general economics of recording. Students will produce several ‘readings' of films, précis of critical essays, and a final paper dealing with a single film or group of films within the context of an active theorization of the cinema in general.
ENG 387 - VISION AND TEXTUALITY - Shore
[Theory]
M 3-6:45
"Film noir" is a term originally coined by French film critic Nino Frank in 1946 to describe a cycle of dark crime and detective films produced and distributed by American filmmakers in the post-World War II era. Literally translated as "black film or cinema," film noir has been examined from many perspectives by film and cultural critics. Debates swirl over whether or not film genre is a historic film cycle or a film genre that is rearticulated across different eras. The alienated (anti) heroes of film noir questioned the homogeneous ideals of American masculinity by placing them into morally-ambiguous narratives, while the femme fatales can be seen as either creations of a misogynistic world view or a feminist figure of the eras between the first and second wave women's movements. This course will explore these formal, historical and cultural concerns by looking at films noir from the "classical" era of the 1940-1960s, antecedents to the classical noir cycle, as well as "neo noir" and "post-noir" films of later eras.
ENG 388 - FILM GENRE - Shore
[Theory]
W 3:00-6:45
A history and analysis of film genre. The course will examine the notion of film genre as distinct from other notions of genre, in particular, literary genre. Special attention will be paid to horror, melodrama, film noir, musicals, science fiction, and teen pics.
ENG 395 - JAPANESE CINEMA - Schaber
[Context]
W 6:00- 9:30
This course is an examination of Japanese ‘moving pictures' within the context of the consolidation of Japan as a modern nation-state, its emergence as an imperial power, and its fate within the new, globalized, political, economic, and media arrangements after the catastrophe of WWII. Although some attention will be paid to early Japanese cinema, the bulk of the course is dedicated to films made after 1923, the year of the Great Kanto Earthquake. I intend the course to be, in the main, co-operatively run by the participants as a research seminar. We will divide up the 14 films on the syllabus, with one or two students responsible each week for introducing the film and leading the subsequent discussion. I will make available a number of essays and books to each student or pair of students so that the seminar will be sufficiently prepared to adequately engage with each film. Your grade will be determined by three factors: 1. The quality of your contribution to the weekly proceedings of the seminar; 2. The quality and effectiveness of your leadership of the seminar devoted to your assigned film; 3. A final research paper, the topic determined in consultation with me.
ENG 395 - ROAD TO KEROUAC COUNTY - Masterson
Qtr 1 -R 3:55-5:15
Once again, a group of fellow travelers will hit the road for points east. After reading some Buddhist philosophy, essays by Thoreau and the fiction and poetry of Jack Kerouac, the group will stop south of Albany at the Grafton Peace Pagoda to visit with the resident monk. Next stop Lowell, Massachusetts, Jack Kerouac's home town, where we will take a walking tour of the sites made memorable in Dr. Sax and other novels. A pilgrimage to Walden Pond will be the feature event of our return trip. Other activities will include bookstore visits and perhaps a chat with one of the original Beat Writers, Charles Plymell. Assignments: An essay and a presentation.
ENG 395 - SPECULATIVE FICTION - Bertonneau
[Context]
MWF 11:30
This course investigates the historical, philosophical, mythic, and scientific origins of the literary genre known as science fiction. The investigation begins with a survey of ancient science and the ancient critique of technology for its own sake. The Greek atomists and Plato's "Atlantis" story provide instances in this line of Classical discourse. From the two second-century AD lunar-excursion stories by Lucian of Samosata, a Greek writer, the syllabus moves to the work of Edgar Allan Poe in the first half of the nineteenth century. From Poe, the survey of science-fictional texts moves through H. G. Wells, H. P. Lovecraft, William Olaf Stapledon, Philip K. Dick and others. With a series of short stories, novels, and films providing the occasion, students will have the opportunity to understand science fiction as a philosophically charged type of narrative that comes to grips at its highest points of articulation with the grandest possible questions of God, knowledge, technique, the universe, and everything.
ENG 395 - "A Brave New World" of Work: Telling Tales for a New America - Curtin
[Theory]
MWF 11:30
The "issue" this course proposes to examine is the transformation of "work" in the U.S. under late capitalism. Characterized by John Bellamy Foster as a "mystery . . . obscured in mist [and] zealously concealed from view . . . by the prevailing ideology," work has become a prominent flashpoint on the U.S. political scene in battles over collective bargaining in Wisconsin, Ohio, and Indiana during the first quarter of 2011. More locally, work in Central New York has been transformed during the past quarter of a century by the onset of casualization; between 1981 and 2007, temporary work agencies have proliferated roughly 850%: whereas once there were 4 temporary agencies in Syracuse, sociologists report 34 temp agencies as little as four years ago.
Drawing on selections of interdisciplinary theory-from economics (Karl Marx, E.P. Thompson, Raymond Williams, Harry Braverman) to feminism (Emma Goldman, Drucilla Cornell, Teresa Ebert) to critical race and cultural studies (Angela Davis, Lisa Lowe, Leo Chavez, and Seyla Benhabib)-the course will provide a framework which aims to demystify work in the era of globalization.
Within this framework, the course will introduce students to a brief survey of 20th century biographies which capture the new modes of living that emerged from the quilting of labor politics, aesthetic experiment, and sexual freedom in mid-20th century life. Exploring the rupture between that moment and our own, the course will illustrate the dialectic with which "Intellectual Issues" courses are most concerned: how ideas about work have shaped U.S. culture and society and, conversely, how renewed conflict over conditions of work might give rise both to new ideas and new social arrangements.
These readings, taken together, will exemplify the power of the dialectic as we consider both how ideas shape culture and society and, conversely, how material praxis gives rise to new ideas.
In this crucible, students will:
a) research and write a non-fiction account of the kinds of "work" they have or are performing;
b) conduct interviews of a family member and produce an ethnography about his or her work;
c) interview and document a narrative of an underemployed worker in Oswego County (a project developed in a partnership with Oswego County Opportunities and/or Migrant Labor Ministries);
d) develop a narrative of aspirations which addresses the kinds of positive transformations in the world of work students envision rather than addressing the myriad ways students can offer themselves up for transformation by work.
ENG 427 - SHAKESPEARE & INTERPRETIVE THEORIES - Murphy, P.
[Theory]
W 6:00
Most of the major developments within contemporary theory have been applied to recent criticism of Shakespeare's poetic and dramatic writings. We can, therefore, use our understanding of Shakespeare to study theory, while we use interpretive theories to approach Shakespeare's writings. In this course we will carefully read several of Shakespeare's plays and selected criticism of those works. We will then examine some of the theoretical texts used by the critics to assess the strengths and weaknesses of their interpretations and to produce interpretations of our own. Students unfamiliar with interpretive theory will have an opportunity in this course to study theories in light of Shakespeare's achievement. And students who have more philosophical, psychological, political or cultural interests will, on the other hand, have an opportunity to apply their reflective skills to Shakespeare's writings. Our key theoretical/historical text this semester will be Michel Foucault's The Hermeneutics of the Subject, which are transcripts of lectures which are in part about "the care of the self" and human sexuality. This course is designed to satisfy the "theories" category of the English program. It is, however, be open to majors and non-majors alike.
ENG 443 - CRITICAL RESPONSE/CRITICAL REPUTATION: WILLIAM FAULKNER - Moore
[Theory]
M 6-8:40
This course examines issues surrounding the formation of the canon of American literature, using as a primary example the status of William Faulkner in that canon. Students read a selection of Faulkner's work, the evolving critical responses to that work which ultimately created the Faulkner's reputation as America's preeminent twentieth-century fiction writer, and the recent variety of critical response to Faulkner, reflecting varied critical stances. We will also consider more broadly how writers' reputations are established, again using William Faulkner as our representative study.
ENG 465 - SEMINAR IN ADVANCED LITERARY STUDIES - Ieta
M 3-5:40
The course explores the work of James Joyce in the context of European modernism and the arts. In depth reading and discussion of Ulysses, including the most important critical perspectives throughout time.
ENG 465 - SEMINAR IN ADVANCED LITERARY STUDIES - Jayawardane
TR 11:10
On the day that two airliners blasted into the high floors of the Twin Towers of the World Trade Centre, I was getting ready for my first day of teaching for the fall quarter at the University of Denver, where I was doing my doctoral work. I was to pick up my then-partner, who was flying back to the US from Europe that day. My friend Tai, a woman delightfully addicted to conspiracy theories, rang me: I heard the phone ring through the blast of my hairdryer.
"Turn on your television. Something bad has happened."
I knew, then, that my passport, life experiences, and scholarship will be stamped by the political decisions subsequent to that fiery argument between two flying machines and two icons of power: while America united in mourning, many new immigrants to the nation knew that their "right to happiness" would be compromised. 9/11 was not just a day of terror in the Homeland; it was the day the ‘West' became aware of Third-World Others' increased mobility - an unwelcome result of globalisation itself - leading national governments to use the risk of terror as currency in the political processes necessary for increasing ‘security' via amplified surveillance, imprisonments without trial, and a sweeping series of legal policies hostile to the rights provided by the US constitution. In those early days, I was too afraid to show up at any rally - I knew surveillance would record my presence. Ten years after 9/11/2001, I know that we need to address the long-term effects of the War on Terror, and have a better understanding of our citizenship, constitutional rights, and engagement within the nation. We'll write about our own experiences, informed by legal scholarship, journalism, political manoeuvrings, and poetic language: Jonathan Safran Foer's story told in the voice of a child who lost his father in the Towers; Beigbeder's Frenchman's homage to the beauty of the buildings; Ishtiyaq Shukri's story of a South African activist who realises that the "free" world is simply reproducing a modern apartheid via immigration policies; Mahvish Rukhsana Khan's accounts of her time as a defence lawyer for the prisoners at Guantanamo Bay; and a news correspondent's experiences on the ground, with American soldiers.
We may even watch some Harold and Kumar in orange jumpsuits...
Books:
1. Open City by Teju Cole
2. Extremely Loud and Incredibly Close by Jonathan Safran Foer
3. The Silent Minaret by Ishtiyaq Shukri
4. My Guantanamo Diary: The Detainees and the Stories They Told Me by Mahvish Rukhsana Khan
5. The Forever War. by Dexter Filkins
6. On Suicide Bombing by Talal Assad
ENG 485 - WORDS IN THE WORLD - Curtin
MW 3-4:20
The Words in the World capstone partners students with local and regional non-profits, businesses, government agencies, and grassroots organizations to work on writing projects. At the same time, the course asks students to write a "narrative of aspirations": to bring into clear focus what their intellectual development has been as English majors, to think clearly about what they value and precisely what they can do, and then to imagine a set of possibilities which they can pursue as a career. The narrative, along with a résumé and cover letter, are due on the first class meeting (instructions will be sent in advance); after receiving peer critique, writers will review project descriptions proposed by partners and revise their job documents accordingly. Interviews will follow, after which writers and partners will be matched. By the end of the semester, writers ought to be able to: 1) identify the writing-based needs of a community organization or business; 2) carry out research and conduct ongoing dialogue with key constituents to refine a sense of audience and purpose; 3) demonstrate effective cooperative work strategies; 4) design and implement agreed-upon, writing based projects on a deadline; 5) analyze and interpret the effectiveness of the writing in line with the client's goals.
CREATIVE WRITING COURSES:
CRW 201 - SCREENWRITING: INTRODUCTORY - Unassigned
MWF 10:20, 12:40
This introductory writing course (first course of a two-part screenwriting track with CRW 301 Screenwriting: Intermediate) explores the screenwriting genre through practical application of various writing techniques, exercises, and organizational concepts, and through critical analysis of professional screenplays, film clips, and student work.
CRW 201 - SCREENWRITING: INTRODUCTORY - Adams
TR 11:10
This introductory writing course (first course of a two-part screenwriting track with CRW 301 Screenwriting: Intermediate) explores the screenwriting genre through practical application of various writing techniques, exercises, and organizational concepts, and through critical analysis of professional screenplays, film clips, and student work.
CRW 205 - POETRY WRITING: INTRODUCTORY - MCoy
TR 9:35, 11:10, 2:20
CRW 205 will teach you how to work with what Kenneth Koch calls "the poetry language," a language within the normal one we use every day but one that aims not just at communication but at beauty. You will begin learning this language by accessing its sources in the imagination through various exercises using art, music, simple objects, and the work of other poets. You will continue by learning this language's grammar, a process which will help you become a more conscious creator and thus enable you to start revising what you have accessed via imagination. Finally, you will read and critique each other's work in a series of workshops, which will show you how your poems are working on a real audience. By the end of the semester, when you turn in your final portfolio of work and give your oral presentation on two poets' collections, you'll come to see poetry not just as something to be studied in the classroom but as a live part of you you'll want to access again and again.
CRW 205 - POETRY WRITING: INTRODUCTORY - Itzin
TR 12:45
CRW 205 is an introductory course in the fine art of reading and writing poetry, with an emphasis on the latter. Since reading and writing poetry are reciprocal activities, students will read a variety of poetry voices and styles with a critical eye on "how" and "how well" they are written and how this can be used in their own writing. The course will discuss ideas for generating poems, the vocabulary to discuss them in a workshop setting, and revision techniques.
CRW 206 - FICTION WRITING: INTRODUCTORY - Wilson
TR 8:00, 9:35
Toni Morrison wrote: "If there's a book you really want to read, but it hasn't been written yet, then you must write it." You can get started in this beginning fiction writing workshop. You'll be reading contemporary short stories and writing exercises using a variety of fiction techniques. In the latter half of the semester everyone will produce a full-length story, which will be discussed by the entire class. You'll be giving written critiques of everyone's stories and this will help you form a critical aesthetic in the genre.
CRW 206 - FICTION WRITING: INTRODUCTORY - Motto
TR 12:45, 2:20
In this fiction writing course, students will read and critique each other's work, as well as the work of established authors. Students should expect daily exercises, quizzes, class discussion, one story and one re-write. This introductory course is designed for students who are non-writing majors. This course is linked to Angel.
CRW 207 - PLAYWRITING: INTRODUCTORY - Korbesmeyer
MWF 9:10, 12:40
This introductory course in playwriting uses a wide-variety of techniques, exercises and organizational concepts to explore the particular challenges and rewards of this genre. Existing theatrical literature as well as our own work will be evaluated and discussed, culminating in a ten-page play.
CRW 207 - PLAYWRITING: INTRODUCTORY - Nichols
TR 8:00
This introductory course in playwriting uses a wide-variety of techniques, exercises and organizational concepts to explore the particular challenges and rewards of this genre. Existing theatrical literature as well as our own work will be evaluated and discussed, culminating in a ten-page play.
CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION - Loomis
TR 8:00, 9:35
CRW 208 is an introductory workshop in nonfiction. Students will read and discuss the work of established writers and will become familiar with creative writing skills such as crafting scenes, using dialogue effectively, and building strong characters and themes. They will complete short exercises and write a full-length essay. Students will improve their writing skills, share constructive criticism in a workshop setting, begin to build a critical vocabulary and become familiar with the genre of nonfiction.
CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION - Steiner
MWF 10:20, 11:30
In this course of literary nonfiction, we shall read and discuss the writing of contemporary and classical authors in the genre as we work together in an environment conducive to generating texts in various nonfiction modes. We'll address matters of writer's voice, intent, strategy and style as well as those of audience, purpose, theme and mood of the text. We are writers who are open to re-visioning our work and supporting our peers in their creative endeavors.
CRW 300 - LIVING WRITERS SERIES - Wilson
MW 3:00-4:20
This course explores the creative process via a series of lectures and seminars presented by a wide variety of artists/writers. Class participants develop their own creative values and aesthetics, and express them through in-class exercises and assigned analysis papers. Unlimited enrolment and open to all majors/minors.
CRW 301 - SCREENWRITING: INTERMEDIATE - O'Connor
R 4:00 - MWF 1:50 (unassigned)
William Goldman wrote, "Screenplays are structure." Students in the intermediate screenwriting workshop will analyze screenplays and movies and develop an in-depth understanding of screenplay structure, as well as build on what was learned in CRW 201. We will be using the online teaching resource Angel to workshop your original screenplays and attempt to complete a full screenplay by the end of class. Exercises, critical responses and written critiques of other students' screenplays are required.
Prerequisite: CRW 201 Screenwriting: Introductory
CRW 305 - POETRY WRITING: INTERMEDIATE - Steiner
MWF 1:50
CRW 305: This is an intermediate workshop in poetry. Students will read books by established poets, write their own poems for workshop, and further refine the practice of critique. Poems will be turned in weekly; short response papers on professional poets will be required. Emphasis for the semester will be on imagery, structure, and voice. Enthusiasm for language is a requirement, and CRW 205 is a prerequisite.
CRW 306 - FICTION WRITING: INTERMEDIATE - O'Connor
TR 12:45, 2:20
This short story workshop builds on what students have learned in CRW 206 and so is primarily concerned with students completing and workshopping 3 stories. Students will use the online teaching resource Angel to read and critique each other's stories, as well as the stories of established authors.
Prerequisite: CRW 206 Fiction Writing: Introductory.
CRW 307 - PLAYWRITING: INTERMEDIATE - Korbesmeyer
MWF 10:20
Advanced playwriting techniques will be explored with the specific objective of creating a one-act play (or the first act of a full-length play). Existing theatre literature will be analyzed with particular emphasis on modern use of language. Prerequisite CRW 207
CRW 308 - CREATIVE NONFICTION WRITING: INTERMEDIATE - Wolfe
MWF 9:10, 11:30
CRW 308 is an intermediate nonfiction workshop. Students will read and discuss creative nonfiction by established writers, write their own essays, and critique the work of their peers. Students will conduct various forms of research to establish mastery over chosen subject matter. They will investigate technical and aesthetic aspects of the genre, and ponder ethical questions, such as "what is truth?" and "do I have a right to use other people's stories as my own?" One full-length essay as well as several short pieces will be required. CRW 208 is a prerequisite.
GRADUATE COURSES:
ENG 519 - INTRODUCTION TO SHAKESPEARE Staff
MWF 3:00
ENG 523 - 20th-CENTURY BRITISH FICTION O'Shea
MWF 12:40
In order to challenge and extend the course title, we will begin and end with two Irish writers, James Joyce and Colm Toibin, and at least one title from the 21st century. In between we will read some more arguably "British" Modernist writers, E.M. Forster, Virginia Woolf and D.H. Lawrence as well ask some later writers who are more difficult to categorize like A.S. Byatt and Zadie Smith. A total of nine novels. Requirements: Two shorter analytical / synthetic essays; mid-term exam, and longer research project to be determined in consultation with instructor.
ENG 532 - REALISM AND NATURALISM IN AMERICAN LITERATURE Blissert
MWF 12:40
This course will study American writing between 1860 and 1900, with an emphasis on the new concentrations of social power appearing at this time. Writers such as Twain, James, Howells, Crane and others confronted these emerging forms of power and reacted to them. Remarkably, their responses evoke not only new visions of social life, but also creative abilities for literary form. Course requirements include tests, critical essays, and a final exam.
ENG 537 - ETHNICITY AND CULTURAL DIFFERENCES IN LITERATURE Clark
TR 11:10
Ethnicity and Cultural Difference in Literature - Inquiries, Critiques, Approaches
This course will focus on a variety of critical and literary texts that explore and critique issues of ethnic identity and difference through a variety of standpoints (e.g., Indian, African-American, Chinese, white, black, mixed, etc.) that subsequently give rise to interrogations into the nature of ethnic identities and to questions concerning relationships of power between different groups of people. We will begin with an interrogation of the course itself, its title, and the assumptions embedded therein. We will then work toward a lexicon or sets of terms that might help us apprehend the terrain of the assumed "other" in ways that are more critical and probing than many mainstream interpretations of popular culture and other media sites allow. And, finally, we will examine three literary texts closely, considering the historical, cultural, literary contexts for each of these works, and determine their impact on multicultural, ethnic, national, and transnational discourses. The critical and literary works we might read include those by Henry Louis Gates, Jr., Sander Gilman, Edward Said, Hortense Spillers, Gayl Jones, Jacqui Alexander, Maxine Hong Kingston, and Percival Everett.
ENG 551 - AMERICAN POETRY SINCE 1945 Pangborn
MWF 10:20
This course surveys the most remarkable poets and poetry in the U.S.A. (and a bit from the rest of North America) between about 1945 and the present day. We will devote most of our class time to close reading and discussion, often with documentary footage of poets reading. Students are expected to read beyond the assigned textbook to produce two well-researched essays and, depending on class size, one in-class presentation.
ENG 575 - THEORIES OF DIVERSE SEXUALITY Murphy, P.
T 6:00
This course will survey recent controversies and intellectual issues within (and among) the lesbian, gay, bisexual, queer, transgendered, and transsexual communities, along with the prevailing (heterosexual) culture, in order to identify recurrent problems, questions, or conflicts and opportunities that may profit from theoretical and literary reflection. We will try to locate those problems and possibilities within historical contexts that might place them in a different light--specifically by raising questions about how we determine what a relevant context is. We will try to appraise what people ordinarily find themselves saying (both pro and con) when they talk about sexuality (or when they represent diverse sexuality in literature or art), while we study the rich discourses from where various phrases emerge. We will ask other questions as well, such as: What historical, political, cultural, and personal conditions are served by diverse experiences of sexuality? This inquiry will also examine heterosexism, homophobia, outing, and coming out of the closet, among other topics. Why do we talk the way we do about our sexual identities? (And all the while we will be asking: Why is sex so much fun?) How do we construct and perform our sexual identities? To what conditions might this construction answer? Does this way of talking (and living) have a history? If so, can we discover what that history might be, and can we solve some of our difficulties by understanding those histories (and perhaps by finding more adequate ways of speaking and thinking about them and our diverse sexual lives)? Can our sexualities not only record our history, but might they also be able to act upon history in ways that change or alter the world?
ENG 595/800 AUTHORSHIP, ORIGINALITY AND INTELLECTUAL PROPERTY Murphy, M.
MWF 11:30
Ever wonder about the relationship of ownership we tend to take for granted between authors and their work - perhaps as you download a remixed version of a favorite song your friend gave you on your ipod, prepare the long works cited list for a literary theory paper on the often-declared "death of the author," or consider whose permission (producer, director, writer, actor?) was legally required for the latest film remake of a classic 70s tv show? Does it mean the same thing to "author" a text at this moment that it did to most people fifty years ago - or five hundred? Do standards of ownership vary at all from context to context (say, from political speech-making to stand-up comedy to fiction or poetry)? Should they? And how are all these questions connected to our evolving expectations about what counts as plagiarism, both inside and outside academic writing?
This course will consider the ongoing discussion of plagiarism and citation, especially as it's related to various contemporary challenges to the prevailing notion of the author as a solitary originator - the creative genius locked away in his of her garret - in literature, literary theory, > popular culture, and intellectual property activism. Students should expect to read in a variety of genres and to write frequently, developing a position on some aspect of this discussion, experimenting with the ancient
art of literary imitation, and analyzing the ways some writer (or graphic artist, filmmaker, musician, etc.) of their choosing manages references to the works of others on which he or she builds.
Note: This course will meet in conjunction with ENG 302: Writing from Sources, sharing many of that course's readings and activities, though its requirements will be different. Graduate students will be required to work with undergraduates on citation and research projects, using ENG 302 as a kind of lab, as well as to attend 4 or 5 1-hour seminar meetings outside ENG 302 meeting times.
ENG 595/810 - ENGLISH DRAMA: CITY COMEDY AND REVENGE TRAGEDY Cooper
TR 2:20
After the death of Queen Elizabeth in 1603, and the advent of King James and the Scottish Stuart monarchs, English drama turned to the dark side. Plays like John Webster's The White Devil exploited boy actors in feminine garb to evoke a sense of loathing and terror of unnatural female desire, even while exalting women's supposed natural modesty. Men, however, were portrayed as just as manipulative and conniving. The zero-sum of amorality, brought on by a rapacious lust for sex, money and political power, delivered a massive body count by the tragedy's end. In the comedies, violence came in the form of witty attacks. Middleton's and Dekker's The Roaring Girl used the real-life cross-dressing figure of Moll Cutpurse, a famous female criminal who liked to go about in men's attire, to satirize both the privileged decadence of the aristocracy as well as the pretensions of the new "cits," or middle-class citizens who were starting to come into their own. Ben Jonson, one of the more intellectual wits of the time, used the female figure to express the mystique of foreign wonders encountered by English colonizers in Africa and the Americas. Jonson explored the symbolic value of dark African beauty when set off against a heroicized England in The Masque of Blackness, a court masque performed by and for the elite social class at the king's court. Women writers had to be careful of their reputations, but were active on the down-low of the literary circuit. Elizabeth Cary's closet drama, Mariam, the Fair Queen of Jewry, was circulated among a wide circle of friends and admirers, but never publicly performed. All this dramatic productivity would be interrupted by the English civil war of the 1640s, when class and religious conflicts led to the beheading of the king, and the shutdown of the majority of theatrical outlets for nearly two decades.
ENG 627 - SHAKESPEARE & INTERPRETIVE Murphy, P.
W 6:00
Most of the major developments within contemporary theory have been applied to recent criticism of Shakespeare's poetic and dramatic writings. We can, therefore, use our understanding of Shakespeare to study theory, while we use interpretive theories to approach Shakespeare's writings. In this course we will carefully read several of Shakespeare's plays and selected criticism of those works. We will then examine some of the theoretical texts used by the critics to assess the strengths and weaknesses of their interpretations and to produce interpretations of our own. Students unfamiliar with interpretive theory will have an opportunity in this course to study theories in light of Shakespeare's achievement. And students who have more philosophical, psychological, political or cultural interests will, on the other hand, have an opportunity to apply their reflective skills to Shakespeare's writings. Our key theoretical/historical text this semester will be Michel Foucault's The Hermeneutics of the Subject, which are transcripts of lectures which are in part about "the care of the self" and human sexuality.
ENG 643 - CRITICAL RESPONSE/CRITICAL REPUTATION: WILLIAM FAULKNER Moore
M 6-8:40
This course examines issues surrounding the formation of the canon of American literature, using as a primary example the status of William Faulkner in that canon. Students read a selection of Faulkner's work, the evolving critical responses to that work which ultimately created the Faulkner's reputation as America's preeminent twentieth-century fiction writer, and the recent variety of critical response to Faulkner, reflecting varied critical stances. We will also consider more broadly how writers' reputations are established, again using William Faulkner as our representative study.
