Doug Guerra

Assistant Professor


Contact

319 Marano Campus Center
315.312.2243
douglas.guerra@oswego.edu

Website

My website

Office hours

Fall 2018
Tuesday & Thursday
1:00-2:00 & 3:45-4:15
or by appointment

Douglas Guerra

At SUNY Oswego, I teach courses in American literature, media theory, popular culture (especially games from the mid-nineteenth century through the twenty-first), and the relationships between technological innovation, aesthetic form, and social arrangement. My recent book, Slantwise Moves: Games, Literature, and Social Invention in the Nineteenth-Century United States (UPenn Press 2018), analyzes nineteenth-century games as materialized theories of action, using them to understand invisibilized and ephemeral pleasures that both structured and troubled what it meant to associate in the broader civic sphere. I have published articles in American Literature and ESQ, and my work has been supported by fellowships from the Brian Sutton-Smith Archives of Play at the Strong Museum, the American Antiquarian Society, Penn State's "First Book Institute," and the National Endowment for the Humanities.

Education

Ph.D., Loyola University Chicago, 2011
BA, University of Chicago, 2001

Classes taught

FALL 2018 COURSES

ENG 235/800 TR 2:20-3:40 306 Marano CC
ENG 362/800 TR 9:35-10:55 142 Marano CC
ENG 365/810 TR 11:10-12:30 142 Marano CC

ENG 235 AMERICAN LITERATURE/BEGIN-CIVIL WAR-“American Hauntings/Haunted Americans.” This course considers the formation of U.S. literature and culture by following a variety of major themes in the literary history of America, from its beginnings through the Civil War. These themes include both religious and secular attempts to represent a unique American mission and identity, a focus on individual reform and personal transcendence, and the issues that accompanied longstanding debates over the social role of women and non-whites in the era before the Civil War. Our journey through early American literature will be guided in part by images of haunting and the supernatural, as we look at a number of texts that use these figures to comment on forces within society that fall off of the grid of the supposedly “natural” order of things—the remainders of historical violence, bodies marginalized by their gender or race, and stories too dangerous to be told in the light of day.

 In addition to exploring these themes, this course will also strengthen students’ skills in close reading, argumentative writing, and analytical discussion—while also providing a richer perspective on the history that informs the contemporary United States.

ENG 362 GENRE-HISTORY-THEORY-"Genre – History – Theory.  " This course will introduce students to genre as a historical and social formation, analyzing the relationship between generic emergence and historical shifts in technologies of production and transmission as well as the economic conditions that lead to certain forms of publication and reading. It will serve as a primer in the history of the book and textual studies that will allow students to interrogate the material world of objects, economies, and bodies as it relates to the intellectual world of ideas, metaphor, and imagination.

ENG 365 JUNIOR SEMINAR: HERMAN MELVILLE-In this course we will analyze the modern idea of “author” in the United States as a social technology defined by a number of factors: the invention and improvement of mass-printing technologies such as lithography and the steam press, cultural fields defined by the aesthetic tastes of editors and audiences, the legal apparatus of copyright, and, of course, historical trends in literature and “literary” writing. Authorship in modern society entails much more than the romantic vision of a solitary mind toiling by the candlelight, more than simply putting pen to paper. And perhaps no author more fully reflects the triumphs and trials of this institution than the notoriously elusive, relentlessly complex, and ultimately rewarding Herman Melville. A darling of American audiences for his early sea-faring adventures Typeeand Omoo, he was financially ruined by his most enduring book, Moby-Dick. Tracking a representative cross-section of Melville’s work—along with touchstone critical essays, contemporary literature and reviews, and biographical back story—we will develop and complicate our ideas of “author,” while thinking along with one of the most celebrated and eviscerated minds that ever aspired to that role.