New Mexico Courses, Summer 2016

Group 1 (Writing, Pedagogy, and Literacy)

7000   Poetry Workshop: Poetry of Humanity and Hope
R. Forman/T, Th 2-4:45

In this workshop we will explore poetry of humanity and hope while incorporating tai chi, qi gong and communal principles to bring a focused energy of flow to one’s writing life. Each session starts with centering and energetic exercises, engages writing and critique, and ends with a clearer understanding of writing technique. Together we will focus on energetic flow and what this can bring to the page, the discussion of moving texts/published poems, and critique of student work. Students will regularly engage in exercises designed to generate new writing, and everyone will submit a final portfolio of revised work at the end of the session.

Texts: Lucille Clifton, Blessing the Boats (BOA); Martín Espada, Alabanza (Norton); Patricia Smith, Blood Dazzler (Coffee House); Kim Addonzio, Ordinary Genius: A Guide for the Poet Within (Norton); Stephen Mitchell, Tao Te Ching (Harper Perennial). Additional readings will be provided during the session.


7051   Writing the Body
A. Castillo/T, Th 9-11:45

The course will focus on how the body one inhabits directly informs one’s perspective on her/his writing. The topic will be reviewed vis-à-vis film, reading assignments, and class discussions. Writing assignments will take the form of memoir writing/personal essays, a writing genre of choice, and inclusion in a performance piece of the student’s own making. Students will be expected to participate fully, and to be self-reflective and open to other perspectives. While the course will be open to discussion of feminist thought, this is not a theory course.

Texts:  Body Outlaws: Rewriting the Rules of Beauty and Body Image (Live Girls), ed. Ophira Edut (Seal); Anne Key, Burlesque, Yoga, Sex and Love (Goddess Ink).


7090   Multimodal Writing Literacy in a Digital Age
C. Medina/M, W 9-11:45

This class asks how has new media literacy affected what makes ‘good’ writing in digital and online composing environments? And, once we understand new media literacy, how can we begin to take practical steps to implement multimodal practices in writing pedagogy? In Writing Studies, composing written communication no longer singularly refers to alphabetic texts and the ‘technology’ of the essay. Reflecting metacognitively on the writing process will bring to light what happens in the translation of alphabetic texts into the genres available in online writing environments such as blogs, instructional YouTube videos, and podcasts.We will examine research on relationships with technology to recognize how these writers negotiate the greater emphasis on digital writing. Then we will enter into research related to our own relationships with technology, focusing on issues with particular resonance to our thoughts and feelings about online and digital media, using multimodal writing to evidence this relationship.

Texts:  Gunther Kress, Literacy in the New Media Age (Routledge); Jason Palmeri, Remixing Composition: A History of Multimodal Writing Pedagogy (Southern Illinois); Kristin L. Arola, Jennifer Sheppard, Cheryl E. Ball, Writer/Designer: A Guide to Making Multimodal Projects (Bedford/St. Martin's).


7146   Multilingual Writing: Pedagogies and Practices
D. Baca/T, Th 2-4:45

How are the forces of globalization and emergent forms of multilingualism changing the relationship between knowledge production and English language instruction? What are the geopolitics of multilingual writing? How should questions of “critical” or “resistant” language pedagogies be decided, and by whom? What is the role of classroom teachers in these debates? We will consider responses to these questions by analyzing recent pedagogical work on the concepts of hegemony, functional literacy, linguistic plurality, and social transformation. Pragmatically our course readings represent urgent responses to the current needs of an increasingly linguistically diverse student body at institutions across the country, as global Englishes circulate both within and beyond the United States. Through investigating the ways multilingual writers merge their own languages and worldviews into standardized English, we will collectively explore new possibilities for writing and the teaching of written languages.

Texts: Paulo Freire, Pedagogy of the Oppressed, 30th Anniversary ed. (Bloomsbury); Gloria Anzaldúa, Borderlands/La Frontera (Aunt Lute); Suresh Canagarajah, Translingual Practice: Global Englishes and Cosmopolitan Relations (Routledge); Gregorio Hernandez-Zamora, Decolonizing Literacy: Mexican Lives in the Era of Global Capitalism (Multilingual Matters); Literacies, Learning, and the Body: Putting Theory and Research into Pedagogical Practice, ed.Grace Enriquez et al. (Routledge); bell hooks, Teaching to Transgress: Education as the Practice of Freedom (Routledge).


7636   Reading and Discourse in Indigenous Existence and Writing
S. Ortiz/T, Th 9-12

See description under Group 4 offerings. This course may be used to satisfy a Group 4 requirement.


Group 2 (British Literature through the 17th Century)

7205   King Arthur: Chivalric Romance, Chrétien to Malory
L. Engle/M, W 2-4:45

An introduction to medieval romance narrative. We will read European Arthurian romances from Chrétien de Troyes and Marie de France through Sir Thomas Malory, including Sir Gawain and the Green Knight (all in modern translation). We will also read Chaucer's chivalric romances and parodies thereof from The Canterbury Tales in Middle English, with attention to reading Middle English aloud and teaching it. Along with a teaching segment, a weekly note, and frequent in-class exercises, students will write a shorter and a longer paper. (Students who have taken 7909 should not enroll in this course; this course may be used to satisfy either a Group 2 or a Group 5 requirement.)

Texts: Chrétien de Troyes, Arthurian Romances, ed. Kibler (Penguin), “Erec and Enide,” “Cligés,” “Knight with the Lion,” “Knight of the Cart”; Marie de France, The Lais of Marie de France, ed. Glyn S. Burgess (Penguin); Sir Gawain and the Green Knight, trans. Marie Borroff, ed. Marie Borroff and Laura Howes (Norton); Geoffrey Chaucer, The Canterbury Tales, ed. Jill Mann (Penguin; original spelling Middle English ed.) (We will focus on the General Prologue and the Knight’s, Miller’s, Wife of Bath’s, Clerk’s, Merchant’s, and Franklin’s Prologues and Tales; we may also read Man of Law’s and Chaucer’s Tale of Sir Thopas.); Sir Thomas Malory, Le Morte D'Arthur: The Winchester Manuscript, ed. Helen Cooper (Oxford).


7261   Shakespeare across Media
B. Smith/T, Th 2-4:45

When Ben Jonson declared in a poem prefaced to the 1623 first folio of Shakespeare’s plays, “He was not of an age, but for all time,” Jonson couldn’t have foreseen that Shakespeare would live on not just in the eyes, ears, and imaginations of readers but in performances in media unknown in England at the time: opera, ballet, cinema, and YouTube. This course will take Jonson’s cue and read closely a representative selection of Master William Shakespeare’s Comedies, Histories, and Tragedies, as the first folio is titled, but also survey the transformation of some of Shakespeare’s plays into opera (Verdi’s Otello), ballet (Prokofiev’s Romeo and Juliet), cinema (Derek Jarman’s The Tempest and Peter Greenaway’s Prospero’s Books), and YouTube videos available on the BardBox and BardBox 2 channels on YouTube, curated by Luke McKernan, lead curator of News and the Moving Image at the British Library. Participants in the course will be asked to prepare one short response paper to a play, a short review of one of the video performances (or a live one, if the opportunity arises in Santa Fe), and a final paper that traces a single issue or theme across at least two of the media.

Recommended text:  William Shakespeare, The Bedford Shakespeare, ed. Russ McDonald and Lena Orlin (Macmillan).


Group 3 (British Literature since the 17th Century)

7360   The Social Character of the Victorian Novel
J. Nunokawa/M, W 2-4:45

In this course, we will read a range of more or less familiar works in a variety of theoretical, historical, and critical contexts. Our general aim will be to study the social character of the Victorian novel in ways that take full measure of literary form and affect. We will be guided by big and little questions such as these: How do Victorian novels transform the pursuit of economic interests into dramas of romantic and erotic desire? How do they transform dramas of romantic and erotic desire into stories of economic interest? How are fascinations and anxieties about foreign races brought home to the domestic scene? How are questions of social class and individual character handled? What is the relation between verbal facility and social class in the Victorian novel, and how is this relation represented? How does the form of the Victorian novel extend, intensify, and expose the systems of social surveillance that developed in the 19th century? Why and how does the Victorian novel labor to produce bodily discomfort, both for those who inhabit it and for those who read it? How does the culture of capitalism haunt the Victorian novel? How does the Victorian novel imagine its relation to other fields of knowledge, for example, to the social sciences emerging at the same period and, like the novel, taking society itself as their object?

Texts:  Jane Austen, Emma (the one technically non-Victorian novel); Charlotte Brontë, Jane Eyre; William Makepeace Thackeray, Vanity Fair; Charles Dickens, Our Mutual Friend; Wilkie Collins, The Woman in White; George Eliot, Middlemarch (all in Penguin editions).


7433   The Life of the Author
L. Hammer/T, Th 2-4:45

What is an author? The author is for most readers an unexamined premise of literary experience. This seminar will approach the essential question in the title of Michel Foucault’s famous essay by exploring the history of authorship in Great Britain from Samuel Johnson to Virginia Woolf. Our premise is that the author lives a special sort of life, at once like and unlike other people’s. We’ll study that life both as it is represented in fiction, poetry, and biography, and as it is created through letters, diaries, essays, anecdote, and other forms. We will explore changing views of selfhood, genius, intellectual property, and gender, and the evolution of authorship as a profession. For conceptual help, we will turn to the New Criticism, poststructuralism, feminism, and the sociology of Pierre Bourdieu. Students will prepare two papers and a presentation, choosing between critical and more pedagogically oriented options.

Texts:  John Keats, Letters, ed. Robert Gittings (Oxford); Elizabeth Gaskell, The Life of Charlotte Brontë (Penguin); James Joyce, A Portrait of the Artist as a Young Man, Intro. Langdon Hammer (Signet); Virginia Woolf, A Room of One’s Own (Mariner).


7453   Modern British and American Poetry
M. Wood/M, W 2-4:45

Later modern poetry in English has all kinds of interesting features, among them an intriguing worry about experience—as if experience were always just out of reach or couldn't be described. There is an enduring concern with silence, too—as if words were always too much or too many. There is a recurring anxiety about poetry itself and its place in the world. But these are only general impressions of what is happening, places where we might start thinking. The aim of this course is not to confirm what we imagine we already know, but to look closely at the work of some remarkable poets and see what we can find. (This course may be used to satisfy either a Group 3 or a Group 4 requirement.)

Texts:  Elizabeth Bishop, Poems (Farrar, Straus and Giroux); Philip Larkin, Collected Poems (Farrar, Straus and Giroux); Geoffrey Hill, Selected Poems (Yale); Jorie Graham, Place (Ecco); Anne Carson, Red Doc> (Vintage); Paul Muldoon, One Thousand Things Worth Knowing (Farrar, Straus and Giroux); John Ashbery, Breezeway (Ecco).


Group 4 (American Literature)

7453   Modern British and American Poetry
M. Wood/M, W 2-4:45

See description under Group 3 offerings. This course may be used to satisfy either a Group 3 or a Group 4 requirement.


7588   American Modernism
L. Hammer/M, W 9-11:45

American modernism was a revolutionary cultural movement braiding art and daily life, in which writing and art were political and spiritual pursuits. Absorbing, but also resisting, the example of new European art and literature, modernism in this country articulated specifically American forms of thought and expression. Focused on the period from the Armory Show (1913) to the Stock Market Crash (1929), our course will examine this transformative moment against the backdrop of New York City and in regional settings from New England to New Mexico. While centering on poetry and fiction, we will read literature in the light of visual art and music, and in the context of First Wave Feminism, the New Negro, “Flaming Youth,” and new visions of democratic culture and American history. Students will prepare two papers and a presentation, choosing between options that foreground either pedagogy or interpretation. Artists include Georgia O’Keeffe, Alfred Stieglitz, and Marsden Hartley.

Texts:  Robert Frost, A Boy’s Will and North of Boston (Dover); Sherwood Anderson, Winesburg, Ohio (Penguin); William Carlos Williams, Spring and All (New Directions); John Dos Passos, Manhattan Transfer (Houghton Mifflin); Jean Toomer, Cane (Norton); Langston Hughes, The Weary Blues (Knopf); F. Scott Fitzgerald, The Great Gatsby (Scribner); Hart Crane, The Bridge (Liveright).


7636   Reading and Discourse in Indigenous Existence and Writing
S. Ortiz/T, Th 9-12

This is both a creative writing course and a reading course centered on Indigenous literatures and taking on the issues of wording, knowledge, and magic. Wording is thinking, feeling, and “seeing” as expression. Knowledge is not magic but coming to knowledge is a dynamic that’s sort of like magic. Fiction, poetry, non-fiction, memoir, and autobiography are truly magical. “Magical realism?” Not quite and not really but truly expressing what we see is magic. Requirements will include creative as well as critical writing assignments.

Texts:  Leslie Marmon Silko, The Turquoise Ledge: A Memoir (Penguin); Sherman Alexie, War Dances (Grove); James Welch, The Indian Lawyer (Norton); Leslie Marmon Silko, Ceremony (Penguin); Orlando White, LETTERRS (Nightboat); Deborah A. Miranda, Bad Indians: A Tribal Memoir (Heyday); Chip Livingston, Naming Ceremony (Lethe).


7673   Mexican American Literature
D. Baca/T, Th 9-11:45

We will examine the production of Mexican American literature, with a focus on how English-language texts respond to dominant power structures and perform cultural subjectivities, both accommodating and resistant. Mexican American literature is a dynamic aesthetic intervention that structures our guiding inquiries: What are the literary possibilities of “mestizaje,” the transnational fusion and fissure of Indigenous and Spanish cultures? Because Mexican American writing easily weaves between Western configurations such as fiction, autobiography, poetry, pictography, and art, what counts as Mexican American literature? How do Mexican American writing practices respond to dominant presumptions of universal hegemony over intellectual inquiry, cultural meaning, historical narrative, and social transformation?

Texts: Gloria Anzaldúa, Borderlands/La Frontera (Aunt Lute); Guillermo Gómez-Peña, Codex Espangliensis (City Lights); Sandra Cisneros, Woman Hollering Creek (Vintage); Paul Martinez Pompa, My Kill Adore Him (Notre Dame); Demetria Martinez, Mother Tongue (One World/Ballantine); Laurie Ann Guerrero, A Crown for Gumecindo (Aztlan Libre); Luis Alberto Urrea, The Devil’s Highway (Back Bay). Students should also read Damián Baca, Mestiz@ Scripts, Digital Migrations, and the Territories of Writing (Palgrave Macmillan), which will be on reserve at Bread Loaf.


7682   Asians in the Global/Planetary Imagination
R. Lee/M, W 9-11:45

See description under Group 5 offerings. This course may be used to satisfy either a Group 4 or a Group 5 requirement.


Group 5 (World Literature)

7205   King Arthur: Chivalric Romance, Chrétien to Malory
L. Engle/M, W 2-4:45

See description under Group 2 offerings. This course may be used to satisfy either a Group 2 or a Group 5 requirement.


7682 Asians in the Global/Planetary Imagination
R. Lee/M, W 9-11:45

This course will focus on how Asians (and to a limited extent, people of other races) are used metaphorically or materially to express anxiety about contemporary issues: the threat of the other, what is considered human and therefore sympathetic, the impacts of increasing commodification on sympathy and human relations, the globalized economy, and different ways to perceive time and narrative. Readings will consist largely of speculative fiction, drawn from Asian and Asian American authors, but also written by authors of various races about Asians. In addition to novels, short stories, poems, and secondary source criticism on the various topics will be provided. Students will also be expected to research, find their own secondary sources on a topic related to the class, and present in class. Central texts include On Such a Full Sea (Chang Rae Lee), Never Let Me Go (Kazuo Ishiguro), A Tale for the Time Being (Ruth Ozeki), and Super Sad True Love Story (Gary Shteyngart). (This course may be used to satisfy either a Group 4 or a Group 5 requirement.)

Texts:  Ruth Ozeki, A Tale for the Time Being (Penguin); Kazuo Ishiguro, Never Let Me Go (Vintage); Amitav Ghosh, The Hungry Tide (Mariner); Yiyun Li, The Vagrants (Random); Chang-rae Lee, On Such a Full Sea (Riverhead); Gary Shteyngart, Super Sad True Love Story (Random).


7737   Philosophers as Writers
M. Wood/T, Th 9-11:45

Traditional philosophy and common sense both assume that meaning and its expression are two different items. There must be some truth in this assumption since we certainly can say what we mean in different ways. But there is a counter-truth: the form of expression alters or even creates the meaning. This course seeks to explore how these propositions (and no doubt a few more) interact with each other. Our examples will come from literature and ordinary life as well as formal philosophy, but our texts for close particular study will be works by philosophers who saw themselves as writers or whose writing benefits from being seen in this light. We shall also look at one or two provocative theoretical discussions of our questions.

Texts:  Ralph Waldo Emerson, Essays (Harper Perennial); Søren Kierkegaard, Fear and Trembling (Penguin); Friedrich Nietzsche, On The Genealogy of Morals and Ecce Homo (Vintage); Hugo von Hofmannsthal, The Lord Chandos Letter (NYRB); Simone Weil, On the Abolition of All Political Parties (NYRB); Ludwig Wittgenstein, On Certainty (Harper and Row); Harry Frankfurt, On Bullshit (Princeton); Judith Butler, Precarious Life (Verso).