|DEPARTMENT OF ENGLISH
CASE WESTERN RESERVE UNIVERSITY
Elie Wiesel (born Eliezer Wiesel) on September 30, 1928
Nobel Laureate and Holocaust survivor
Author of The Fifth Son
Department of English
Case Western Reserve University
Course Listing Spring Semester 2009
Tentative Course Descriptions (subject to additions, deletions and revisions at a later date.)
* Check Registrar’s listing for course times
For courses listed as “300/400” undergraduates should list only the “300” number on their registration forms; graduate students should list only the “400” number.
Organized courses and tutorials for non-undergraduates are available to those for whom English is a second language. These are offered by permission of the Writing Center Director only. Contact Dr. Megan Jewell at the Writing Center, 104 Bellflower Hall (368-3798) or at the English Department, 311 Guilford House (368-3799).
Introduction to Composition Jewell
M W F 8:30 - 9:20
M W F 9:30 – 10:20
English 148 is an introductory course designed to help students who might have difficulty in meeting the level of "C" competence in English 150, either because their verbal test scores and high school records suggest additional practice might be needed, because English is not their native language, or because their writing and reading simply lack the sophistication required for English 150. English 148 is challenging: it encourages students to read with greater insight and to acquire greater ease in organizing, focusing, and developing ideas in writing. Classes are small and provide a great deal of individual tutorial work in addition to formal instruction. Successful completion of the course means that a student is eligible to register for English 150. Students enrolled in SAGES are not required to complete the English 148/150 sequence. Enrollment limited to 12 in each section.
Expository Writing Emmons
M W F 3:30 – 3:50
As a course in expository writing, English 150 requires substantial writing. The goals of English 150 are:
To give students guided practice in forming compelling and sophisticated claims for an academic audience and in supporting those claims with appropriate evidence;
To help students recognize, formulate, and support the kinds of claims prevalent in academic writing;
To help students internalize the standards for strong academic prose;
To teach students the academic conventions for quoting, summarizing, and citing the words and ideas of other writers and speakers;
To guide students in locating, evaluating, and using different kinds of research sources;
To improve students’ abilities to read and respond critically to the writing of others;
To help students develop coherent strategies for the development and organization of arguments;
To foster students’ awareness of the importance of stylistic decisions; and
To provide students with effective techniques for revision, and to cultivate habits of comprehensive revision.
Topics, readings, and writing assignments vary across individual course sections. Students enrolled in SAGES are not required to complete the English 148/150 sequence. Enrollment limited to 20 in each section.
Writing Tutorial Jewell
PURPOSE: ENGL 180 is a one- or two-credit tutorial in writing. Its purpose is to make a full spectrum of writing instruction and support available to enrolled undergraduates.
REASONS FOR TAKING ENGL 180:
Extra Help in Writing: The majority of students who enroll in ENGL 180 do so because they feel they need supplemental help with basic writing skills. Students who enroll are given immediate diagnostic writing work and, when their writing has been assessed, they are given a program of homework and tutorial assistance designed to meet their particular needs.
Competence: Non-SAGES Students who do not receive a “C” or better in ENGL 150 must take ENGL 180. A major function of ENGL 180 is to allow these students (along with transfer students who have taken freshman English elsewhere but failed to exempt themselves via the transfer placement exam) to satisfy the University's requirement. If such students pass ENGL 180 with a "C" or better, they thus satisfy the requirement. N.B.: since exemption from a University requirement is at stake, competency students are clearly identified to their tutors; minimum writing requirements (see below) are adhered to carefully; and, in order to pass the course with a "C" students must consistently meet in their writing the standard for competence that is obtained in ENGL 150. "C competence" is defined in the bulletin and other University publications.
GENERAL COURSE CONTENT AND PROCEDURE
Obviously individual programs will differ according to a variety of factors. The following general description, however, covers most cases. When a student enrolls, he or she is assigned a regular tutor and receives an hour of tutorial instruction per week. The amount of tutorial contact may vary according to the extent and severity of the student's problems and the amount of tutoring time available. Since the course is for credit, all students will be expected to do some writing at home. The minimum number of words a student will be required to write in ENGL 180 is 3,000 (approximately 12 pages). This is slightly over one-third the amount of writing required for ENGL 150 (3 credits). These writing requirements may be supplemented with additional assignments at the tutor’s discretion. Since the tutors are in closest touch with individual students, whose needs often vary greatly, the tutors have broad discretionary powers where assignments are concerned and the nature of the amount of writing and other assigned work may vary from student to student. Files are kept on all students enrolled in ENGL 180, and they contain records of attendance, progress, and the tutor's comments and observations. They are available to instructors upon request.
HOW TO ENROLL
After enrolling for ENGL 180 (via Solar or the Registrar), students must contact the Writing Center, Bellflower Hall 104, during registration or drop-add week to set up their tutorial times. For questions or appointments, students may call the Writing Center at x3799 or email email@example.com.
Reading Tutorial Olson-Fallon
English 181 is a one-credit individualized tutorial that students can take for a total of three semesters. Enrollment does not have to be continuous. Students enrolled in English 181 may work on sharpening their critical reading strategies as well as other related academic strategies that increase reading efficiency and effectiveness. Students enrolled in English 181 must come to the Educational Support Services office the first week of class to select the time for meeting weekly with the instructor. English 181 is offered only in the fall and spring semesters. Questions about English 181 should be directed to Judith Olson-Fallon, Director of Educational Support Services (Sears 470, http://studentaffairs.case.edu/education/about/contact.html).
Literature in English McDaniel
M W F 9:30 – 10:20
This course introduces students to the reading of literature in the English language and is intended to give English majors the skills necessary to succeed in more advanced literature courses and those students in other disciplines an additional critical consciousness crucial to any major. These include familiarity with literary terms, genres, and concepts; close reading skills; awareness of the sorts of questions raised by literary texts and addressed by literary scholars; and practice writing literary analysis papers that defend an arguable thesis based on a close reading of texts. Finally, the course is intended to enhance students' ability to appreciate and enjoy literature. In our pursuit of these objectives, we will ask ourselves some of the most basic (yet most complicated) questions about literature: What is the role of an author, and what is the role of a reader? How does a reader's interaction with a text change among different genres? How do we make meaning when we read? Why should we study literature critically? Texts will include: Angela Carter, The Bloody Chamber; Mark Haddon, The Curious Incident of the Dog in the Night-Time; Mason and Nims, Western Wind: An Introduction to Poetry; a play (most likely Shakespeare's The Comedy of Errors), among others.
Introduction to Creative Writing Staff
M W F 3:00 – 3:50
A workshop-style course for students who wish to refine the skills acquired in ENGL 150. Special attention to style and presentation.
Writing for the Health Professionals Hane-Devore
TU TH 2:45 – 4:00
This course offers students practice and training in writing for the health professions (e.g., medicine, nursing, dentistry). Recognizing the importance of analyzing audience and understanding the rhetorical situation, this course places emphasis on the entire writing process: from planning and drafting through revising and editing. Students will complete a series of assignments that offer them guided practice in the genres most common to the healthcare professions. Beginning with professional development documents (resumes, letters of application and request, and project narratives); students will learn to adapt their writing skills to the demands of a healthcare audience. The course will then direct students’ attention to scholarly and public health documents (abstracts, articles, and reviews) common to the health professions.
In this course, students will learn to:
Analyze the needs of specific audiences for healthcare documents
Evaluate the contexts and goals for a variety of healthcare documents
Write and revise documents common to the health professions
Adapt their own writing to varied rhetorical situations and audiences
The Novel Staff
TU TH 2:45 – 4:00
Introductory readings in the novel. May be organized chronologically or thematically. Some attention to the novel as a historically situated genre.
Introduction to Gender Studies Jewell
This course introduces students to the concepts and methods of Women's and Gender Studies, an interdisciplinary field. The course will begin with an introduction to American feminist movements or waves. We will then proceed with an overview of major academic approaches to gender while emphasizing the ways in which it assists in rethinking traditional disciplinary categories and assumptions. The remainder of the course will be organized according to smaller topical units, each paying particular attention to gender's intersection with race, class, and sexual identity in structuring power relations between women and men. Sociological, historical, and philosophical studies will be paired with literary (poetry, short stories, film) and pop-cultural texts (song lyrics, TV programs) in order to introduce and to raise questions about the following (probable) topics: economics and gender, gender and language, body image, and masculinity. Students will write short critical responses, a longer paper at midterm, and complete a final project.
This class is the required introductory course for students taking the women's studies major, and is cross-listed as, HSTY 270, PHIL 270, and RLGN 270. It also fulfills the global and cultural breadth requirement
Masterpieces of Modern Fiction Berindeanu
TU TH 2:45 – 4:00
This course will present a selection of most representative Western and non-Western modern fiction.
English Literature to 1800 Siebenschuh
M W F 11:30 – 112:20
This course introduces students to a broad spectrum of British literature from the middle ages to the end of the eighteenth-century. We will read selections from Chaucer, Shakespeare, Donne, Milton, Dryden, Pope, Swift, Johnson, the early novelists—and a number of others along the way. One focus of the course from start to finish will be the changing ideas about what constitutes literature, what the creative process involves or should involve, and what the role of literature and the writer are in the culture. Another will be the way in which historical factors like changing levels of literacy and the coming of print culture influence all of the above. Requirements for the course include regular attendance, participation in discussion, two five to seven page papers, a mid-term and a final.
Linguistic Analysis Oakley
TU TH 1:15 – 2:30
Students in the humanities and social sciences deal unavoidably with crucial technical aspects of language but often lack the training necessary to describe them with sufficient precision. Often a student becomes frustrated at the point when he or she is intuitively aware of the role of linguistic operation at work in a text or communicative situation but possesses no way to describe and explain it.
The successful graduate of this course will recognize technical phenomena in language and will be familiar with a variety of theories and approaches to their analysis. We will begin with a review of traditional grammar and then proceed to analyze phonetic and phonological, morphological, syntactic, semantic, and pragmatic facets of language. We will then explore the relationship between language and mind and between language and culture. By terms end, the students will have had an opportunity to think about the following topics in linguistics: recognition of speech sounds; word formation; syntax and meaning; concepts and categories; metaphor and metonymy in thought and language; deixis; speech acts;
coherence and cohesion in discourse; language change; language typology; brain and language; language acquisition; psycholinguistics; social contexts of language writing systems; and the relationship between body, language, and mind.
A mid-term and final examination; three five-page analytic papers; twelve substantive web postings on the course discussion board
William O’Grady et. al., Contemporary Linguistics 5th Edition
Selected readings available on blackboard
Intermediate Writing Workshop: Fiction Umrigar
TU 4:30 – 7:00
The purpose of this class is to build on what you learned in the introductory fiction class and hone those storytelling skills. You will work on writing stories with interesting plot lines, memorable characters and a strong sense of place and time. There are three parts to this class--reading fiction, writing your own stories and critiquing the stories of your classmates. You will be expected to participate fully in both, the discussions about the stories you've read and critiquing the work of others.
Intermediate Writing Workshop: Poetry Gridley
W 4:00 – 6:30
Continues developing poetic techniques introduced in English 214, with emphasis on experiment and self-direction. Close readings of poetic models. Weekly writing assignments and critiques. Critical readings and responsive writing. Midterm project & end of term portfolio evaluation. Some memorization required. Pre-requisite: ENGL 203 or 214, or permission of the instructor.
Intermediate Writing Workshop: Journalism Gup
M 4:00 – 6:30
Course description is unavailable at this time.
American Literature Stonum
M W F 2:00 – 2:50
Survey of American literature from the colonial years to the late 20th century. We will examine a goodly number of significant writers, viewing them in part through changing notions of what counts as "literature" and the roles American writing plays on a more global stage. The aim is to introduce key writers, provide a map of American literary history, and to chart some of the differing aims, ambitions, and achievements of literary culture.
This will be more a reading-intensive than a writing-intensive course. Writing requirements will include two short papers and a few more informal responses.
Note that although ENGL 300 is technically not yet a pre- or co-requisite for the course, a background in British literature up to 1800 or so will help a lot.
Shakespeare: Comedies and Romances Kuzner
TU TH 1:15 – 2:30
This course examines Shakespeare’s comedies and histories. We will read these plays in light of filmic adaptations and may stage some adaptations of our own. We will discuss a range of topics relating to forces that, in ways both familiar and unfamiliar to the contemporary reader, contribute to the fashioning of identity. We will discuss, for example, the role of education and desire in plays such as Taming of the Shrew, As You Like It, and A Midsummer Night’s Dream. In the case of Measure for Measure and The Merchant of Venice, we will discuss how governmental structures shape selves, and how they make for comedy. When we reach the history plays, we will discuss, among other things, the construction of history and the historical figure, whether over the long arc that eventuates in the “great” man, Henry V, or the abrupt appearance of Richard III. In doing so, we will examine how different conceptions of time—for instance, circular, “tavern” time and ostensibly progressive, “political” time—produce different ideas about identity.
Research Methods Flint
TU TH 10:00 – 11:15
It may seem perverse to devote a course to the study of Jane Austen and a disparate collection of male writers who preceded her. As a crucial literary figure of the late eighteenth and early nineteenth centuries, Austen occupies a momentous period marked by the French Revolution, the Romantic Movement in literature, philosophy and art, and the advent of the Industrial Revolution. She is most famous for her covenant with other women writers and her break from the literary past. The daughter of a clergyman, she produced several works of fiction, all written in the third person, that many critics now regard as quintessential examples of the novel: among them, Pride and Prejudice, Emma, and Persuasion. Her highly popular male predecessors, such as Daniel Defoe, Samuel Richardson, Henry Fielding, Laurence Sterne and Horace Walpole, while still known, are rarely read outside of academic contexts such as this course. Whereas Sterne, for example, was a notorious and lionized writer whose risible publications shocked the reading public, in her own day Austen was a relatively obscure author who described her own writing as “a little bit of ivory, two inches wide.” Interestingly, the twentieth century has merely reversed this sharp difference in renown and thus preserved the apparent divergence between the literary figures this class investigates. However, it is precisely such conditions that justify a comparison of these authors since coupling Austen with various male writers throws into sharp relief the intersecting changes in gender, authorship, politics, religion, modern literary reception, adaptation, sentimentalism, and romance that define how we have come to regard the critical shift in British culture between the eighteenth and nineteenth centuries. Examining most of the fiction Austen produced and one representative text by each male writer, some selected criticism, and a few film versions of the novels, “Austen Among Men” will track these fundamental changes as they shape the novel’s development into a dominant literary form. Requirements include two short assignments, a longer final essay, and mandatory discussion.
“Nineteenth-Century Literature and Psychology” Vrettos
M W 12:30 - 1:45 pm
This course will examine a wide array of British literature written during the nineteenth century. In particular, we will focus on how Victorian writers represented the workings of the human mind and traced the development of subjectivity in a number of different genres. Our readings will include novels such as Charlotte Bronte’s JANE EYRE, Charles Dickens’ GREAT EXPECTATIONS, George Eliot’s MILL ON THE FLOSS, Oscar Wilde’s PICTURE OF DORIAN GRAY, Robert Louis Stevenson’s DR JEKYLL AND MR. HYDE, and Thomas Hardy’s RETURN OF THE NATIVE; poems by Robert Browning, Alfred, Lord Tennyson, and Christina Rossetti, and non-fiction prose by Matthew Arnold, Walter Pater, and Charles Darwin. Through these works, we will study Victorian interest in childhood development; the interaction between self and society; the relationship between memory and identity; the power of emotion and desire; obsessive and compulsive behavior, monomania and other forms of insanity; multiple personality; wandering attention and reverie, and theories of consciousness (including the emergence of the term “stream of consciousness”). Requirements for the course include attendance and active participation in discussion, three papers of varying lengths, and a take-home final exam. This course is intended as an introduction to nineteenth-century literature, and is appropriate for both majors and non-majors. Prerequisite: either ENGL 150 or USFS 100.
American Literature 1914-1960 Ricca
M W F 11:30 – 12:20
In American literature, much can happen in fifty years. We will read all about it: Fitzgerald, Hemingway, Pound, Millay, Plath, Salinger and many others. We will attempt to position these writers as members of a modern age being quickly transformed by art, war, television, and music. We will look at secondary sources of biography, film, and concurrent scientific advances to help our focused understanding and interrogation of the literature of this time and its indebtedness to the world(s) from which it springs.
Required: Attendance and participation, a discussion presentation, a midterm, and a final research paper.
Intro to Film Spadoni
TU TH 2:45 – 4:00
An introduction to the art of film. Each week we take an element of film form (editing, cinematography, sound, etc.) and look at film clips that illustrate how filmmakers work with this element to produce effects. Most weeks we’ll also screen a whole film and discuss it in light of the week’s focus. Films screened will include masterworks of the silent era, foreign films, Hollywood studio-era classics, and more recent US cinema. Students will write two essays (5-6 and 8-10 pages) and take a scheduled quiz, a midterm, and a final exam. Grad students will write a longer second essay and, in connection with this essay, submit a proposal and bibliography.
Topics in Film: Hitchcock Spadoni
TU TH 10:00 am – 11:15 am
M 7:00 pm – 9:30 pm
Alfred Hitchcock stands alone in cinema history in some striking respects. In an age when most directors were anonymous studio employees who could be hired and fired at will, Hitchcock was a powerful Hollywood player and a celebrity whose face moviegoers knew. He turned out financially successful films with astonishing regularity for decades. These films continue to fascinate and challenge us, not least for their remarkable thematic consistency. We will look at fifteen or so of his greatest films, analyzing how the director’s preoccupations, including his sexual obsessions, permeate the films in ways that can produce provocative, and sometimes troubling, results. We will examine some of his celebrated “set pieces” and ask what makes them so memorable and effective. We will regard his films in light of the director’s own, sometimes misleading, commentaries on them, and consider that central term in the critical and popular discussion of Hitchcock’s work: suspense. Films screened will include his early sound film Blackmail, his first Hollywood film Rebecca, and masterworks from later in his career including Rear Window, Vertigo, and Psycho. Students will give an in-class presentation, take three quizzes, and write two papers.
Topics in Film: Asian Cinemas Ehrlich
M W F 3:00 pm – 3:50 pm
TH 7:00 pm – 9:30 pm
In this Topics in Film course, we will analyze films from India, the PRC, Vietnam, Taiwan, Korea, and Japan. While the focus is on "art cinema," we will also pay attention to martial arts films, melodramas, and animation. Textbook: Asian Cinemas: A Reader and Guide (University of Hawaii Press, 2006), and current articles and reviews.
Studies in Poetry Gridley
M W F 2:00 – 2:50
Studies in Poetry: Composition of Place in G.M. Hopkins, T.S. Eliot, H.D., Wallace Stevens, & Dylan Thomas. In studying these poets, we will pay particular attention to poetic methods of converting abstract space into concrete place; we will consider the role of sensory data or “embodied knowledge” in effecting this conversion. We will inquire into the scope of “places” poetic imagination is able to grasp & enact through language: diurnal, mythological, teleological. We will examine the role that time plays in the navigation of place, and in the quality of voice that conjures it. What are the motives behind the imaginative/contemplative composition of place? Where do such compositions permit a poem’s voice to reach? Beginning with Saint Ignatius of Loyola’s “composition of place” model, which focused mind, memory, will, and imagination into the act of prayer, we will consider how these poets, from Hopkins to Thomas, used similar methods for both spiritual and secular purposes.
Course requirements: some memorization; weekly readings; creative and critical writing assignments; midterm & final portfolio. Pre-requisite: ENGL 214, or permission of the instructor.
Topics in Language Studies:
The Teaching of ESL Writing Gerard
M W F 3:00-3:50
This course will explore theoretical and practical issues related to working with writers who have learned English as a second (or third or fourth) language.
The course will introduce major scholarship in the area of second language acquisition and writing pedagogy with the goal of informing students’ professional and scholarly interests, including peer tutoring, working with multilingual and multicultural writers in secondary and tertiary educational settings, and the study of language and cognition. The following questions will be addressed: What is the nature of the second language acquisition process, and how does an understanding of this process provide practical guidelines for working with ESL writers? What are the most common grammatical errors produced by learners of English, and how do we help learners address these errors? What do these errors tell us about the language acquisition process? What sorts of culturally defined writing behaviors do language learners bring to the composing and learning process, and what are the implications for the teaching of writing?
Students will demonstrate their understanding of course material through class discussion, short written assignments, the assessment and analysis of ESL writing samples, and a portfolio in which they relate theoretical knowledge to various practical activities. Undergraduate students will turn in portfolios of approximately 10 pages; graduate portfolios will be 15-20 pages.
Course readings will include excerpts from Leki, I. Understanding ESL Writers and Hinkel, E. Teaching Academic ESL Writing.
Departmental Seminar Umrigar
We will be reading, discussing and critiquing published collections of short stories. The purpose of the class is to understand the workings and makings of a good short story. We will discuss narrative, stylistic and other issues. We will look at short stories by contemporary writers from different cultures who are writing in English. Although we may occasionally do a bit of creative writing, the purpose of this seminar is to study the short story as a literary form.
Special Topics in Literature Gup
M W 9:00 – 10:15
Course description is unavailable at this time.
Literary and Critical Theory Stonum
M W F 10:30 – 11:20
The course will survey the lively world of modern critical theory, particularly work done in the last 30 years. We will examine most of the influential types of criticism that have flourished during this time, treating them roughly in the order in which they arose or in which they were imported into English studies. Although we will pay some attention to the history of theory, the primary concern will be to approach the material analytically, seeking to understand various claims about the nature and function of texts and about methods for construing them.
--for 387: Best for junior or senior humanities majors; not recommended for students who are not widely read in or who have not taken at least three literature (ENGL, WLIT, DMLL) courses. Preparation in philosophy, art history, and musicology also much welcome. Students will be asked to write two short summaries of key theoretical texts and a longer, reflective paper
--for 487: Students will be asked to write three short summaries of key theoretical texts and a longer, reflective paper. Note that although the course will focus on anglophone literary studies, the export/import traffic with history, music, art history, philosophy, world literature, social theory, etc. will not be neglected and that the course should also serve as an intro to Theory for graduate students in other disciplines.
Senior Capstone Grimm
TU 4:30 – 7:00
In this class, students will work on individual projects (which may be either research-based or creative writing-based) in fulfillment of the SAGES Capstone requirement.
Prerequisites: ENGL 300 and ENGL 380
Professional Communication for Engineers Schillace
TU TH 1:15 – 2:05
The Gothic tradition seems a perennially popular genre. Since the earliest models (novels by Walpole or Radcliffe, for instance), the gothic has been enticing readers to join in the eerie and unearthly realm of darkness and shadows. Yet, the gothic is about more than monsters. In addition to (and sometimes more terrifying than) the supernatural occurrences in gothic fiction are instances of madness, misjudging senses, and a host of other mental disturbances. This course will examine the relationship between the early gothic tradition and mental disruption, and will explore our own continuing interest in a genre that asks us to suspend disbelief and join in various dislocations, disruptions, and delusions of the mind.
Professional Communication for Engineers McPherson
M W 11:30 – 12:20
TU TH 2:45 – 3:35
TU TH 4:30 – 5:20
English 398 introduces principles and strategies for effective communication in both academic and workplace engineering settings. Through analysis of case studies and of academic and professional genres, this course develops the oral and written communication skills that characterize successful engineers. Students will prepare professional documents that focus specifically on communicating academic and technical knowledge to diverse audiences. Because such documents are always situated within professional, social, and rhetorical contexts, this course also requires students to explain and justify their communicative choices in order to become adept in navigating the rhetorical environments they will encounter as professional engineers. As a SAGES Departmental Seminar, English 398 also prepares students for the writing they will do in Capstone projects.
Advanced Fiction Writing Grimm
TH 4:30 – 7:00 pm
Rules for the first draft: Do it…. Do it quickly.
Stephen Koch (Writer's Workshop: A Guide to the Craft of Fiction)
This is planned as a course in novel writing. Students will write and workshop 80-100 pp. of a novel and produce a working synopsis. Readings will include the work of contemporary novelists and various theoretical approaches to the text and the author.
Seminar: Criticism and Other Special Topics Fountain
TH 4:30 – 7:00
The web, videogames, cell phones, and DVDs are revising our conventional notions of texts, readers, and authors. At the same time, these and other “new media” are reworking the ways we work, play, learn, and communicate. This course will investigate commonplace and emerging new media as they relate to “English Studies,” paying special attention to the ways these new technologies and texts contribute to and complicate writing studies, film studies, and literary studies.
Our exploration will consider such issues as old/new media convergence; interactivity and access; narrative, production, and spectatorship; and the articulation of difference in digital texts and environments.
Major Units: (1) Defining “New Media”; (2) Web 2.0 (social networking software, blogs, wikis, and YouTube); (3) Electronic Literature (hypertext fiction); (4) Video Games; and (5) Digital Cinema.
Possible Texts: Bogost’s Persuasive Games (2007); Bolter & Grusin’s Remediation: Understanding New Media (2000); Bruns’s Blogs, Wikipedia, Second Life, and Beyond (2008); Landow’s Hypertext 3.0: Critical Theory and New Media in an Era of Globalization (2006); Warnick’s Rhetoric Online (2007); Wysocki, Johnson-Eilola, Selfe, & Sirc’s Writing New Media (2004); and The Electronic Literature Collection, Volume 1 /collection.eliterature.org>.
Selections From: Chun & Keenan’s New Media, Old Media (2006); Hayles’ My Mother Was a Computer (2005); Manovich’s The Language of New Media (2001); and Nakamura’s Digitizing Race (2007).
Possible Assessment: (1) brief reading responses (30%); (2) participation and “new media” tasks (30%); and (3) a major research project focusing on one particular media/text/technology (15-20 pages, 40%)
Con/texts of Authorship and Invention Woodmansee
W 5:30-8:00 (Graduate Level)
Description: “Authorship” and “invention” are among the West’s most powerful ideas -- the categories by which much of creative human activity has been defined and valued for the last two centuries. We will investigate the emergence and consolidation of these ideas in the context of some of the institutions, technologies, and practices that have fostered and been fostered by them, such as printing and publishing, copyright and patent law, educational curricula and disciplinary pedagogies. Then we will turn our attention to the varieties of authorship and invention in operation today – from the solitary ethos characteristic of the arts and humanities to the collaborative, even corporate, forms in ascendance in science and industry. How are ideas of authorship and invention employed in the various discursive spheres to assign credit and responsibility? May tensions be found with creative practice? What are the stakes? Who wins, who loses? And what will be the consequences of digitization and globalization? The course will be cross-listed in the Law School, bringing additional perspectives and expertise to the seminar table. The goal of our study will be to identify worthy research topics within students’ own areas of interest.
Prerequisites – Graduate standing or permission of the instructor.
Requirements – class participation, including several oral reports, and a term paper.
Readings – TBA (Readings for previous iterations of the course may be viewed at: www.case.edu/affil//sce/authorship and www.globalauthorship.com.)