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Graduate Courses

Fall 2021 Graduate Courses 

To see these options on SPIRE, see our Class Listings page.

(Subject to change)

698--Gen Ed Practicum                            By arrangement      TBA

698I--P-Teaching Basic Writing              By arrangment        Anne Bello

698J—Teaching Mentoring                                 By arrangement      Peggy Woods

698L—P-Teaching Creative Writing      M, 5:00-6:00             J. Jacobson/J. Parker

698MA—Teaching MFA Online Courses         By arrangement      Jennifer Jacobson

698R—Applied Literary Arts                   By arrangement      Jennifer Jadobson

698RA—Applied Literary Arts – RADIUS   By arrangement          Edie Meidav


699---Master’s Thesis                               By arrangement

698--Gen Ed Practicum                            By arrangement      TBA

698I--P-Teaching Basic Writing              By arrangment        Anne Bello

698J—Teaching Mentoring                                 By arrangement      Peggy Woods

698L—P-Teaching Creative Writing      M, 5:00-6:00             J. Jacobson/J. Parker

698MA—Teaching MFA Online Courses         By arrangement      Jennifer Jacobson

698R—Applied Literary Arts                   By arrangement      Jennifer Jadobson

698RA—Applied Literary Arts – RADIUS   By arrangement          Edie Meidav


699---Master’s Thesis                               By arrangement


780-1 Imaginative Writing: Poetry
Wednesday 5:30–8pm  Instructor: Ocean Vuong

This class is built around developing the art and act of recognition in relation to the reading and writing of poetry. We will nurture and expand a lexicon for examining, exploring, and thinking about how poems work, not only as crafted objects, but also in relation to the contexts they seek to explore and the questions and issues they raise. Our main task is to learn how to recognize a poem’s unique goals and ambitions, and then cater our critique according to those objectives. In this way, there are no overarching rules that can apply to any specific poem, but rather, each piece will receive idiosyncratic responses in relation to what it aims to achieve. This class will focus as much on praxis as it does on the poems we explore at hand. The ultimate goal is to build a personalized method of creating that sustains and endures far beyond the workshop and the MFA.


Ocean Vuong is the author of The New York Times bestselling novel, On Earth We're Briefly Gorgeous, out from Penguin Press (2019) and forthcoming in 31 languages. A recipient of a 2019 MacArthur "Genius" Grant, he is also the author of the critically acclaimed poetry collection, Night Sky with Exit Wounds, a New York Times Top 10 Book of 2016, winner of the T.S. Eliot Prize, the Whiting Award, the Thom Gunn Award, and the Forward Prize for Best First Collection. A Ruth Lilly fellow from the Poetry Foundation, his honors include fellowships from the Lannan Foundation, the Civitella Ranieri Foundation, The Elizabeth George Foundation, The Academy of American Poets, and the Pushcart Prize.


Vuong's writings have been featured in The Atlantic, Harpers, The Nation, New Republic, The New Yorker, The New York Times, The Village Voice, and American Poetry Review, which awarded him the Stanley Kunitz Prize for Younger Poets. Selected by Foreign Policy magazine as a 2016 100 Leading Global Thinker, alongside Ban Ki-Moon and Angela Merkel, Ocean was also named by BuzzFeed Books as one of “32 Essential Asian American Writers” and has been profiled on NPR’s “All Things Considered,” PBS NewsHour, Teen Vogue, Interview, Poets & Writers, and The New Yorker.


780-02 Imaginative Writing: Poetry
Monday 1:25–3:55pm  Instructor: Peter Gizzi

The workshop is a demanding class. It consists of work-shopping several batches of poems, providing in-depth written comments, handing in revisions, reading several books of poetry and/or essays, and required participation and attendance. Permission of instructor required of students not enrolled through the MFA Program for Poets & Writers.  


Peter Gizzi is the author of Now It's Dark (Wesleyan 2020), Sky Burial: New & Selected Poems (Carcanet, UK 2020), Archeophonics (Wesleyan 2016), In Defense of Nothing: Selected Poems 1987-2011 (Wesleyan 2014), Threshold Songs (Wesleyan 2011), The Outernationale (Wesleyan 2007), Some Values of Landscape and Weather (Wesleyan 2003), Artificial Heart (Burning Deck 1998), and a reprint of his first book, Periplum and other poems 1987-1992 (Salt Publishing UK 2004). His honors include the Lavan Younger Poet Award from the Academy of American Poets and fellowships in poetry from The Fund for Poetry, The Rex Foundation, Howard Foundation, The Foundation for Contemporary Arts, The John Simon Guggenheim Memorial Foundation, and The Judith E. Wilson Visiting Fellowship in Poetry at Cambridge University.


780-03 Imaginative Writing: Poetry
Friday 2–4:30pm  Instructor: Cynthia Cruz

Does ‘writing’ exist in and of itself? No.
It is merely the reflection of a thing that questions.

                             --Clarice Lispector, A Breath of Life

Within the compound word “workshop” exist two distinct words. The word “work” means “physical effort, exertion” and, carries, also, the meanings “scholarly work” and “artistic labor.” The meaning of the word “shop” means “booth or shed for trade or work” and “gathering for study.” In our workshop we will gather to share the work of our artistic and scholarly labor. And, in the spirit of the “workshop,” experimentation and play will be encouraged, with an emphasis on building community. Over the semester we will explore the concept of the poem as a form of a question. Entering our poems with a question, with unknowing, we will undoubtably discover new forms and subject matter. During our meetings we will read and discuss the work of contemporary poets while, at the same time, sharing our own writing in weekly workshops. For the final project each writer will submit a chapbook of poems.  


Cynthia Cruz is a writer and multidisciplinary artist. Cruz is the author of six collections of poems: Guidebooks for the Dead (Four Way Books, 2020), Dregs (Four Way Books, 2018), How the End Begins (Four Way Books, 2016), Wunderkammer (Four Way Books, 2014), The Glimmering Room (Four Way Books, 2012) and Ruin (Alice James Books, 2006). She is also the editor of Other Musics, an anthology of contemporary Latina poetry (University of Oklahoma Press, 2019). Disquieting: Essays on Silence, a collection of critical essays exploring the concept of silence as a form of resistance, was published by Book*hug in the spring of 2019. The Melancholia of Class, her second collection of critical essays, an exploration of melancholia and the working class, is forthcoming from Repeater Books in 2021.


781-1 Imaginative Writing: Fiction
Tuesdays 5:30-8 PM     Instructor: Sabina Murray
This workshop is designed to discuss work with a focus on structure and handling of time.  Through a combination of craft talks, exercises, and selected reading, we will study how to pass time in an organic manner, how to better explore character through perspective and contrast, and other stylistic elements that we so often construct instinctively, but should be able to edit with cold intellect.  This workshop will be able to accommodate longer works--novels in progress, collected short stories, novellas--but will also be helpful to those working on individual stories and in the early stages of novels. Time is fun!


Sabina Murray is the author of five novels and two story collections, including The Caprices, which won the 2002 PEN/Faulkner Award. She has been awarded fellowships from the National Endowment for the Arts, the Guggenheim Foundation, and the Radcliffe Institute.  She teaches in the MFA Program at the University of Massachusetts at Amherst.   Her stories are anthologized in The Norton Anthology of Short Fiction and Charlie Chan is Dead II. She has held fellowships from the National Endowment for the Arts, Guggenheim Foundation, Radcliffe Institute, and Massachusetts Cultural Council.  She has written on Sebald for the Writers Chronicle, Wordsworth for the Paris Review blog, time theory and historical fiction for LitHub, Duterte and the Philippines for VICE, Spam (the meat) for The New York Times, and published gothic fiction in Medium.  Her most recent book, Valiant Gentlemen, was included in the New York Times 100 Notable Books of 2016.  Two books are forthcoming: The Human Zoo, set in Duterte’s Philippines (Aug 2021) and Vanishing Point, a collection of literary horror fiction (TBD).


781-02 Imaginative Writing: Fiction
Wednesday 1:25–3:55pm      Instructor: Jeff Parker  

This workshop is an intensive course in lying and language-made hallucination. Expect to submit work to be discussed by the group; to revise that work; to read texts that do well that which we wish to do better; to identify strengths and weaknesses in your own work and the work of others; to focus on sentences; to read in form and craft; and to focus on narrative structure. Permission of instructor required of students not enrolled through the MFA Program for Poets and Writers.


Jeff Parker is the author of several books including Where Bears Roam the Streets: A Russian Journal, the novel Ovenman, and the short story collection The Taste of Penny. His many collaborative books and anthologies include: Clean Rooms, Low Rates; Erratic Fire, Erratic Passion: The Poetry of Sportstalk; A Manner of Being: Writers on their Mentors; Rasskazy: New Fiction from a New Russia; Amerika: Russian Writers View the United States; and The Back of the Line.  His short fiction and nonfiction have appeared in American Short Fiction, McSweeney's, Ploughshares, Tin House, and others.


781-03 Imaginative Writing: Fiction
Thursday 3–5:30pm       Instructor:  Noy Holland

This is a course about learning to be better at being, as Mr. Joyce says, "above the text, paring one's fingernails." My hope is that the class inspires fanaticism, perversions of the given, a new sense of the plasticity of the language, its instability, a fresh devotedness to the task of exploring lingual effects, the texture and coloration of words, the deep structure of sentences. The course seeks to encourage work that produces not sensationalism but sensation or what Nabokov called "aesthetic bliss; that is, a sense of being where art (curiosity, tenderness, kindness, ecstasy) is the norm." Please note that we will be reading at least 3 collections of short fiction for this course. Books ordered at Amherst Books.


Noy Holland is the 2018 recipient of the Katherine Anne Porter prize from the American Academy of Arts & Letters. She is the author of the novel Bird, and four collections of short fiction, The Spectacle of the Body, What Begins with Bird, Swim for the Little One First, and I Was Trying to Describe What It Feels Like: New and Selected Stories.


791E  Theorizing the Discipline
Thursdays, 4-6:30              Instructor:
Randall Knoper

The purpose of this course is to provide an introduction to the theories and methods that inform and shape English studies—particularly the study of literature and culture, performance, and writing and rhetoric. The assignments for the course will give you the opportunity to identify the critical questions and conversations that you find most compelling and that can guide your course of study as you pursue your degree. The format of the course will consist primarily of presentations by guests: faculty members in the department will be invited to the class to discuss how theory informs their work and to identify what they see as the new questions and directions emerging in their areas of specialization. Students will learn about theoretical approaches from specialists and have the chance to meet and talk with them. Our guests will address such areas as performance studies, environmental humanities, inter-imperial studies, postcolonial studies, indigenous literary studies, history of science, history of the book, transnational/translingual theories of writing, and textualities and circulation studies.  The subject headings one might expect in a course like this will be missing—e.g., formalism, deconstruction, poststructuralism, feminism, Marxism, psychoanalysis, critical race theory, queer theory, affect theory, and so on. In much the same way that individual critics (and our guests) now combine aspects of these theories according to their utility, you’ll find that these conventionally established theories and methodologies weave their way throughout the course. One of our tasks will be to consider how they are absorbed, repudiated, reconfigured, or reinvented, and to what ends. To get up to speed on these theories, I would recommend purchasing one of the standard theory anthologies, e.g., Julie Rivkin and Michael Ryan, eds., Literary Theory: An Anthology; Vincent B. Leitch, et al., eds., The Norton Anthology of Theory and Criticism; or David H. Richter, ed. The Critical Tradition: Classic Texts and Contemporary Trends. We will also try to spend some time thinking and talking about English as a profession, particularly the unspoken expectations regarding the kinds of preparation required to enter it. Most of the readings will be available in electronic form. I have no plans to order books for the course.


Randall Knoper’s new book, Literary Neurophysiology: Memory, Race, Sex, and Representation in U.S. Writing, 1860-1914, will be published in September. He is also the author of Acting Naturally: Mark Twain in the Culture of Performance and of essays in such journals as American Literary History, American Literature, Modern Fiction Studies, and College Literature.


791SA---South African Literature and Politics: Apartheid and Postapartheid

Wednesdays, 1:00-4:00              Instructor: Stephen Clingman        

Over the last hundred years, South Africa has seen transitions of a momentous nature: from a colonial past to a postcolonial present; from the oppressions of apartheid to Nelson Mandela’s first democratically elected government in 1994 and the postapartheid period beyond. In this setting South African literature has kept the pulse of its society, telling its inner history and raising urgent issues. These have obviously been political, concerning questions of race, class, gender and sexuality, but there have been pressing aesthetic issues as well, involving representation, language, and more broadly the forms in which writing can (or ought to) respond to conditions of severe oppression and its continuing aftermath. In that respect, South Africa is something of a test case for the role of literature in both colonial and postcolonizing settings. In this context, the course will consider work in various genres (fiction, poetry, drama) across the bridge year of 1994. Writers will include some of the most revered, such as the Nobel Prizewinners Nadine Gordimer and J. M. Coetzee, as well as Athol Fugard and Njabulo Ndebele. Other remarkable contemporary writers will also come into view, among them Zoe Wicomb, Ivan Vladislavić, and Marlene van Niekerk as well as a younger generation of black writers, such as K. Sello Duiker, Niq Mhlongo, Phaswane Mpe and Kopano Matlwa. Documentary material, music, short films and/or photography will supplement the course. Overall, we’ll be considering relations between aesthetics and politics in a setting which has concentrated some of the key conflicts, asymmetries, and transitions of the 20th and early 21st centuries.


Stephen Clingman is the author of The Novels of Nadine Gordimer: History from the Inside; Bram Fischer: Afrikaner Revolutionary; The Grammar of Identity: Transnational Fiction and the Nature of the Boundary; and Birthmark, a memoir/autofiction. He has held a variety of fellowships internationally, and published widely on South African and other topics. Recent articles have focused on fugitive/narrative, the biofictive, and questions of dwelling. Texts for the course will be on order at Amherst Books.


792A---Methods for the Study of US Culture                         

Wednesdays, 4:00-6:30                Instructor: Hoang Phan
This course introduces students to the range of theories and critical methodologies practiced across the interdisciplinary fields of American Studies, focusing on recent texts that have engendered discussion and debate. Areas of particular emphasis covered in readings will be African American Studies and critical race theory; Gender and Sexuality Studies; Marxism and historical materialism; Indigenous Studies and settler colonialism; Postcolonialism and decolonization.  Seminars will be framed by investigation into the relationship between historical inquiry and contemporary cultural study. In our discussions of texts we will ask: What is the author’s critical understanding of history and its relationship to the present? What is the critical conception of cultural memory, archival recovery, and historical narrative? What are the text’s primary theoretical frameworks, critical methodologies, and disciplinary interventions? In what ways do these texts engage with current dialogue and debate in the disciplines comprising American Studies scholarship; and how do they conceive of the politics of knowledge production, of research and pedagogy?


796---Independent Study                                                             By arrangement

For students wishing to do special work not covered by courses listed in the curriculum.  Each student when registering should submit a brief description of the semester’s work agreed on by the student and the instructor.  This must be signed by both the instructor and the student.  No instructor should do more than one such course.  Form for registering for this course are available in South College W339.  The Director of Graduate Studies must approve each proposal.


796A---Independent Study                                                                      By arrangement

            For students who are taking more than one independent study course per semester.

796B---Independent Study                                                         By arrangement

796W---INDEPENDENT AREA-1                                                 By arrangement

796X----INDEPENDENT AREA-2                                                By arrangement


891B---Poetry of the Political Imagination                                         

Mondays, 1:00-3:30                                   Instructor: Martín Espada

Poetry of the political imagination is a matter of both vision and language. Any progressive social change must be imagined first; any oppressive social condition, before it can change, must be named in words that persuade. Poets of the political imagination go beyond protest to define an artistry of resistance. This course explores how best to combine poetry and politics, craft and commitment. Students will read classic works ranging from the epigrams of Ernesto Cardenal, written against the dictator of Nicaragua, to Allen Ginsberg’s Howl, the book that sparked an obscenity trial. They will also read the farmworker poems of Diana García, born in a migrant labor camp; the emergency room sonnets of Dr. Rafael Campo; the prison poetry of political dissident Nazim Hikmet; and the feminist satire of Marge Piercy, among others.

(Texts available at Amherst Books,


Martín Espada has published more than twenty books as a poet, editor, essayist and translator. His new book of poems is called Floaters (Norton, 2021). He is the editor of What Saves Us: Poems of Empathy and Outrage in the Age of Trump (Northwestern, 2019). In 2018, he received the Ruth Lilly Poetry Prize and an Academy of American Poets Fellowship.


891EW---History of Higher Education in the U.S.                

Tuesdays, 1:00-3:30          Instructor: David Fleming

This course is a graduate-level introduction to the history of higher education in the United States, treating the educational past both as a field of scholarly inquiry in its own right and as a lens to think about institutions, disciplines, systems, practices, and problems today. The idea of the course is twofold: to encourage historical research on higher education among scholars in diverse disciplines and to prepare future academics for careers in higher education by helping them see their work in a broader institutional and sociocultural context. Topics of inquiry will include the history of the university; the rise of institutions specific to the U.S., including liberal arts colleges, land-grant institutions, women’s colleges, historically black colleges and universities, and community colleges; the rise of for-profit and online higher education; the evolution of the post-secondary curriculum; ties between colleges/universities and the state, market, and society; issues of access and affordability; articulation among higher education, secondary schools, and the workplace; the rise of disciplines and professions; the history of graduate education, etc. There will be some focus on the rise of English as an academic discipline, including histories of literary study, composition and rhetoric, and creative writing. Histories of higher education outside the United States can also be incorporated. Other adjustments regarding topics and readings will be based on students’ interests, backgrounds, and goals. The course will culminate in individual projects; both primary and secondary research are possible. Readings will likely include such texts as Pedersen’s The First Universities, Rudolph’s The American College and University: A History, Menand et al.’s The Rise of the Research University: A Sourcebook, as well as more focused historical scholarship on a range of topics.


David Fleming is Professor of English and former Director of the Writing Program at UMass Amherst. He has published widely on histories and theories of rhetoric and composition, including City of Rhetoric: Revitalizing the Public Sphere in Metropolitan America (SUNY, 2008) and From Form to Meaning: Freshman Composition and the Long Sixties, 1957-1974 (Pittsburgh, 2011). He is at work on a third book, about the history of the bachelor’s degree in US higher education, focused on the rise of the “composite” undergraduate curriculum, mixing general and specialized education.


891I---Writing and Emerging Technologies                          

Mondays, 10:00-12:30       Instructor: Donna LeCourt

Designed as a survey of key issues, pedagogies, and cultural shifts in which writing and technology are embedded, this course seeks to examine how digitality, writ large, affects how we think about, produce, and theorize writing.  The course will examine how digital technologies alter not only the form and materials of writing but also the role writing plays within new economies and how it participates within changing ideologies.  The assumption behind the course is that the digital is inevitably a part of all our lives as teachers of writing but to employ it well in our teaching we must also understand how it functions within larger cultural structures to assess both is possibilities and limitations for our goals and hopes for writing.  Thus, we will take up questions such as how the materials we write with influence our compositions, what composing means in an age of “info bots,” algorithms, and platforms; how our digital writing composes/expresses our identities; how we might leverage digitality for public spheres and social change; and how writing produces value for information capital in ways that might threaten the more socially just purposes we might hope it could serve.  Our conversations will take us far from pedagogy but will always return to teaching and composing as forms of intervention into digital ecologies. The course should address the interests of students in digital humanities as well as rhetoric and composition, or others interested in teaching or writing with technology.


Donna LeCourt is a past co-director of the digital humanities at UMass and has recently finished a book, Social Mediations:  Writing for Digital Public Spheres, that is currently under review.  She has previously published Identity Matters: Schooling the Student Subject in Academic Discourse and several essays on feminism and digital writing. 


891MC---Myriad Consciousness: The Hybrid, It’s Tradition, Innovations and Radical Possibilities                                                                                    

Mondays, 10:45-1:15         Instructor: Ocean Vuong

In this class, we will examine possibilities in textual and  critical hybridity, paying close attention to how this nascent yet rich lineage of writing blurs, disrupts, and alters the boundaries of genre-making. What happens when a piece of writing challenges the preconceived parameters of its genre, rendering itself elusive, amorphous, and yet still insisting on its value as a means of intellectual and emotional discovery? What uses are genre labels, and can these terms be modified alongside the development of inter-genre futures?


How does a poet's own hybridity in epistemology, culture, class, race, gender and sexuality relate to or inform her formal enactments? We will read both the trailblazers and newcomers to the form, as well as try our own hand at creating a hybrid text that surprises, challenges, and confronts our own notions of what a "poem" should or should not be, and how those notions can change. The goal, in the end, is to expand and enlarge our ontological knowledge of "genre" and the potentialities therein through careful reading, compositional imitation, and rigorous discussion. Writers explored might include Theresa Hak Kyung Cha, Bhanu Kapil, Marguerite Duras, Etel Adnan, Sam Ace, Joe Brainard, William Carlos Williams, Matsuo Bashō, Arthur Rimbaud, Aimé Césaire, Jean Toomer, Anne Carson, Maggie Nelson,Lyn Hejinian, Ben Lerner, Bernadette Mayer, Fred Moten, Cathy Park Hong, C.S Giscombe, Chen Chen, Ilya Kaminsky, C.D. Wright, Walt Whitman, among others.


891N---Indigenous Literary Crafts & Poetics since 2000               
Tuesdays, 11:30-2:00        Instructor: Santee Frazier

Common approaches to the study of Indigenous and Native American Literature are often in service to the colonial project where literary works on or about “Indians” are discussed as cultural artifact or ethnographies. In this course we will read and discuss poets crafting sophisticated linkages between indigenous thinking and poetics in contemporary contexts .The first section of the course begins with discussions on indigenous poetics coupled with critical works by scholars writing within Native and First Nations. From there we will read and discuss the work of poets M.L. Smoker, Sherwin Bitsui, Joan Kane, Layli Longsoldier, Orlando White, Jake Skeets among others.

A member of the Cherokee Nation of Oklahoma, Santee Frazier earned a BFA from the Institute of American Indian Arts and an MFA from Syracuse University. His first collection of poems, Dark Thirty (2009), was published in the Sun Tracks series of the University of Arizona Press. Frazier’s honors include a Fall 2009 Lannan Residency Fellowship and 2011 School for Advanced Research Indigenous Writer in Residence, and was the 2014 Native Arts and Culture Foundation literature fellow. His second collection of poems Aurum was released in 2019 by The University of Arizona Press.


891PB--Editing Ecological Literature, Paperbark Magazine
Wednesday 10:45-1:15  Noy Holland

This is a course in and about literary editing as a practical, visionary, and collaborative endeavor. Students become essential members of Paperbark’s diverse community of thinker-makers, drawing on expertise in the sciences, visual art, poetry, and literary prose. The aim here is confluence; Paperbark’s mission—and the purpose of this seminar—is to bring the arts and sciences into legible, lively dialogue, “to build new bridges across traditional divides.” We’ll study other publications whose mission is consonant with ours, as a way to refine, orient, and enliven iterations of Paperbark to come. Participants will undertake the editorial, production, and outreach work essential to the life of the magazine. Exploring questions of editorial mission and curation, as well as the role of ecological literature in contemporary American letters, class members will develop their own editorial ethics and aesthetics as they collaborate on the creation of Paperbark’s next issue. Students will build valuable critical and professional skills and gain insight into how their work may be received when sent out for publication. At the same time, they’ll be an integral part of Paperbark’s welcoming community of scientists, artists, activists, and writers and, through the magazine, join the global conversation about the interdependence of science and art.
This course is open to all interested graduate students with priority given to MFA and PhD candidates in English, and the School of Earth and Sustainability. All class members serve as Associate Editors and receive masthead recognition in the magazine. Founded in 2018 by a dedicated group of faculty, staff, graduate students, and alumni, Paperbark grows from an interdisciplinary collaboration between the School of Earth and Sustainability, the College of Humanities and Fine Arts, and the UMass Libraries. The third issue is under way, and we’ll begin to consider fiction, nonfiction, poetry,
and art for the fourth issue as well.

Noy Holland is the 2018 recipient of the Katherine Anne Porter prize from the American Academy of Arts & Letters. She is the author of the novel Bird, and four collections of short fiction, The Spectacle of the Body, What Begins with Bird, Swim for the Little One First, and I Was Trying to Describe What It Feels Like: New and Selected Stories.

891TE---Trans-Embodiments of the Early Modern World              

Mondays, 1:00-3:30                       Instructor: Marjorie Rubright

“The condensation of transness into the category of transgender is a racialized narrative,” C. Riley Snorton writes. This seminar begins with the proposition that exploring the contours of gendered embodiment(s) in early modern texts requires attending to the emergence of modern forms of race and racism. How do we set out on this project in ways that attend both to possibilities and pitfalls of intersectionality and transhistorical research? In exploring gender’s dynamism, plurality, and expansiveness in various cultural and literary contexts, how are we illuminating or obscuring white supremacy, anti-blackness, xenophobia, and the biopolitics of settler colonialism? In exploring these and other questions, the seminar draws together conversations underway in #RaceB4Race seminars and symposia and those inaugurated by the 2019 publication of the Journal for Early Modern Cultural Studies’ special issue, “Early Modern Trans Studies.” Our primary readings will span early modern drama, travel writing, medical treatises, and ephemera. Our critical readings will range broadly as we pay particular attention to how recent collections are shaping the conversation: JEMCS “Early Modern Trans Studies”; The Oxford Handbook of Shakespeare and Embodiment: Gender, Sexuality and Race; Early Modern Black Diaspora Studies; Early American Studies “Beyond the Binaries in Early America”; & Trans Historical: Gender Plurality before the Modern (forthcoming).   Note: This seminar counts toward the Women, Gender, Sexuality Studies’ Graduate Certificate in Feminist Studies.


Marjorie Rubright is Director of the Kinney Center for Interdisciplinary Renaissance Studies and is currently writing her second book: A World of Words: Language, Earth, and Embodiment in the Early Modern World. She is co-editor of Logomotives: Words that Changed the Premodern World (forthcoming) and author of Doppelganger Dilemmas (UPenn). Her recent publications include: “Transgender Capacity in Thomas Dekker and Thomas Middleton’s The Roaring Girl” (2020); and “Becoming Scattered: The Case of Iphis’s Trans*version and the Archipelogic of John Florio’s Worlde of Wordes” in Ovidian Transversions (2019).


891VC---Voices of Dislocation: Contemporary Immigrant Fiction
Mondays, 6:15-8:45             Sabina Murray

This course is interested in fiction that addresses identities forged in the transition from country of origin to country of residency (mostly U.S.) with a focus on recent books.  Books will be selected from an expanding list that includes work written by Patricia Engel, Jaime Figueroa, Lysley Tenorio, Susie Yang, NoViolet Bulawayo, Yaa Gyasi, Souvankham Thammavongsa, Tommy Orange, Jakob Guanzon, Moshin Hamid, Jenny Zhang, Hector Tobar, Sebastian Barry, and others.

899----Doctoral Dissertation                                                                                Staff


All graduate students must have a minimum of 18 credits at the time of their graduation.