Ph.D. In Literature
Course Descriptions

Spring 2006

 

Students can take up to 15 credits, not including language acquisition courses. (Language classes do not count toward the 9 credit.) Every effort should be made to acquire language proficiency as early as possible. Please bear in mind, the language exams will be rigorous and must be satisfied by the end of the third semester of residence.

Students are required to consult with the Program Director/and or Director of Graduate Studies prior to enrolling in any course. Students should select their courses from the listings described in this booklet. However, in special circumstances and with prior authorization from the Program's Director and/or Director of Graduate Studies, graduate level courses not listed here can be taken for credit.

Students are reminded of the Program's requirements in Core, Primary and Related Fields. With the advice of the Director/ Director of Graduate Studies, and/or advisors in their field students, will, at the appropriate time, be expected to demonstrate what constitutes Primary and Related fields of study.

 

LITERARY THEORY : Required Course for all first year students

LIT 73902 Philology and Weltliteratur
Buttigieg
Wednesday (W) 1:30 – 4:15 PM
The Literature Programs course on Literary Theory deals with theories of different time and places with emphasis on the critical problems that arise when what we call "Literature" is investigated in a multicultural context. Issues that may be expected to arise include the following the problems of translation, the meaning of metaphor, hermeneutics complexity, the meaning of the word "style" the relation between oral and written literatures.

Eric Auerbach's essay, from which this course derives its title, serves as a point of departure for exploring the possibility of developing an approach to literary history and literary interpretation that: (a) attends to the historical, cultural and aesthetic specificity of the individual literary work and (b) at the same time, brings into relief the complex ways in which cultures interact, overlap, and modify one another. The course will focus primarily on the pertinent works of Vico, Herder, and the German Romantics, Auerbach (and other historicists), Arnold, C. L. R. James, Raymond Williams, and Edward W. Said, as well as selections from the writings of Fanon, Ngugi, Lamming, Cesaire, and others.

 

ENGLISH

LIT 73891 Caribbean Discourses of Identity
Ivy Wilson and Ben Heller
MW 11:45-1:00

This graduate course uses the Caribbean as a site to investigate the convergence of multiple confluences. It presupposes that the Caribbean is as much conceptual as it is geographical or historical as it emerged from the early modern period to the present. The seminar will attempt to delineate a fuller understanding of its complexities by using texts in English, French, and Spanish. Its major themes include metissage/mestizage, diaspora formation and trans-nationalism, colonialism and post-colonialism.

LIT73899 “Americanism And Fordism,” Modernity, And Criticism
J. Buttigieg 6:30-9:00 M
This course will study Antonio Gramsci’s work (with special attention to his notebook on “Americanism and Fordism”) to examine a set of inter-related aspects of the culture, criticism, and politics of modernity and modernization. This will function as a study in the material history of criticism in modernity, and of a crucial aspect of modernity—i.e., the genealogy of the American power configuration in the twentieth century. Yet, the seminar will be almost as much about Europe as about “ America.” In the Europe of the 1920s and 1930s, modernity was often labeled “Americanism” and more often than not regarded with disdain and even horror. In the economic sphere, the advent of new modes of production (Fordism and Taylorism) transformed not only the nature of work, but also social relations. We will explore all these issues in the course of the semester by first looking at Gramsci’s writings, starting with his famous essay on the “Southern Question” (which will allow us to consider the implications of Gramsci’s thought for the study of the world’s “south”) and then moving on to the Prison Notebooks. Though the emphasis will be on close readings of Gramsci’s text, part of the semester will be devoted to specific issues that will amplify and enrich the insights gained from Gramsci. The exact nature of the topics/issue that will be explored in the second half of the semester will depend to some degree on the interest and areas of expertise of the students in the seminar. This seminar will be conducted in tandem with a seminar under the same title being conducted by Professor Ronald Judy at the University of Pittsburgh. Those registering for this course are strongly encouraged to contact Professor Buttigieg in December before the break to refine the planning of specific sessions of the seminar. CROSSLIST ENGL 90915

LIT 73759 Mask, Maze and Mountain: The Conflicts of Beauty, or Aesthetics in the Eighteenth Century
Margaret Anne Doody
Thursday 12:30 – 3:00

The eighteenth century inherits Renaissance ideas of the beautiful, arising out of neo-classical theory, yet the eighteenth century both instates such ideas and questions them. Indeed the period seems determined to question the idea of Beauty itself. The “Beautiful” becomes a conflicted site as well as the cause of conflicts. While the beautiful is never rejected outright, it may be set opposite some other value: for instance, virtue may be considered an antagonist to beauty, just as in another mode the sublime trumps the beautiful (as it famously does in Burke’s Enquiry concerning the Sublime and the Beautiful). Beauty shares the problematic nature of sexuality, politics, and commerce. Disguise and masking offered ways of getting away from it, as did laughter, grotesque images, or ruins (as if beauty demanded wrecking). Was there almost a war against beauty in the eighteenth century? Do the causes of distrust rest in simple misogyny, or gnosticism, or democratic and republican ideals, or new concepts of the Self?

Masking seems central to many eighteenth-century concepts of the self and of society. One topic will be Venice in the late Renaissance and the eighteenth century, a study of the most luxurious culture in Europe and its promotion of delicious and grotesque disguises, its masked Carnival. Neo-classicism will be examined including French works such as Boileau’s Art Poétique, influential on writers like Dryden and Pope. We will look into the eighteenth century’s fascination with the ugly, in the rise of caricature as well as in works such as Pope’s Dunciad, and Lessing’s Laokoön., and examine the place given to the common or vulgar in works like Goldoni’s The Landlady ( La Locanderia) and Richardson’s Pamela. Other novels include the Duchess of Devonshire’s The Sylph, and Jane Austen’s Sense and Sensibility. Theatrical works include farces and afterpieces such as the Harlequin plays with their bizarre spectacles (a singing dragon, a dancing windmill). Theoretical works of the period include not only Burke’s Enquiry but also Hogarth’s discussion of the Line of Beauty, and Kant’s Critique of Judgment, as well as Rousseau’s Lettre sur les spectacles, a memorable statement about the danger of art.

ENGL 90128 20th Century International Poetry
Bei Dao
MW 4:30-5:45

This course is designed with a precise aim to introduce students into a condensed and distinctive poetry writing with rich imageries. This objective will be mostly achieved through close readings and appreciation of some masterpieces of twentieth century poetry in an international context, departing deliberately from a kind of narrative poetry that has been dominant in American mainstream poetic world today. We will cover international poets such as Federico Garcia Lorca, Georg Trakl, Paul Celan, Rainer Maria Rilke, Boris Pasternak, Osip Mandelstam, Gennady Agyi, Gunnar Ekelof, Thomas Transtromer, Paul Eluard and Dylan Thomas, etc.

ENGL 90201 Beowulf
Katherine O’Brien O’Keeffe
TR 3:30-4:45

What relationship do we expect between "heroic" texts and the society which produced and enjoyed them? What cultural investments of our own lead us to read certain Old English texts and not others? How did Beowulf receive canonical status? What strategies of reading permit the past to offer a critique of the present? Using Beowulf as both focus and foil, this course will examine a wide range of textual and material cultural issues presented by the surviving verse from Anglo-Saxon England. Pre-requisite: Reading knowledge of Old English. (Undergraduates may enroll with permission of the instructor.) Required work: Mid-term examination, oral report, critical paper, final examination.

ENGL 90321 Imperial Liberalisms: Literature of British India
David Thomas
T 12:30-3:00

The literature of British India comprises works set in India and written by British citizens with experience as residents there. This seminar explores that literature as a means of assessing recent scholarly arguments concerning Victorian liberalism, especially as it relates to British imperialism. A provocative historical irony drives most current work in this area: why were nineteenth-century liberals so often supporters of British imperialism, even as imperialism seems at odds with liberal concerns such as rights, the rule of law, and political justice?

Our literary-historical coverage begins with the 1830s and might extend to the 1920s or 1940s. Several authors under that heading--notably Rudyard Kipling, George Orwell and E.M. Forster--are icons of general British literary history. Other authors, such as Flora Annie Steel and Sara Jeannette Duncan, have more recently begun to win critical attention.

The course's theory ambition is to read liberalism in at least three frameworks. As general social theory, liberalism construes individual human subjectivity as "rationally" motivated, and it sees social institutions as reflecting the aggregated wills of individuals. As a broadly modern political reality, liberalism takes shape in the late 1600s and stands for such values as individual rights of property, toleration of religious and other "cultural" differences, and (with time) extensions of the franchise and the rule of law. Finally, as a specifically Victorian/Edwardian social debate, liberalism can be seen as shifting in its indication: while the term liberal was generally cozy with elitism and imperialism in the 1830s, it came to signify a democratizing and increasingly anti-imperialist energy by the start of the twentieth century.

Students can anticipate two major writing projects: a book review of a recent scholarly work; and a term paper. Smaller projects, such as presentations and annotated bibliography, are to be expected.

Possible literary authors and works: Taylor, Philip Meadows. Confessions of a Thug (1839); Arnold, W.D. Oakfield or Fellowship in the East (1854); Steel, Flora Annie. On the Face of the Waters (1897); Kipling, Rudyard. Kim, and various short stories and poems; Duncan, Sara Jeannette. Set in Authority and/or Burnt Offering; Forster, E.M. A Passage to India

ENGL 90606 Forms of Democracy in 19th C U.S. Literature
Sandra Gustafson
M 1:30-4:00

This course will explore two central concerns in American literary studies:  what is “democratic” about literature written in the United States?  And how does the problem of representative politics influence literary and textual representation?  From F.O. Matthiessen’s definition of a canon of five authors who shared a “devotion to the possibilities of democracy” in American Renaissance (1941); to the efforts to broaden that Cold War canon to be more democratically representative in the anthology projects and multicultural criticism of the 1980s; to the New Americanist project of decoupling “democracy” and “America” in order to critique U.S. imperial hegemony in the 1990s, democracy has been a central concept in the study of U.S. literature.  One emphasis of this course will be on historical and contemporary theories of democracy as they relate to literary texts. 

A second emphasis will be on textual forms as they figure in democratic theory.  The possibilities of democracy today are frequently tied to new media, notably the Internet, which for some promises to realize ideals of participation and transparency.  New media enthusiasts of the 19th C saw similar democratic possibilities for immediacy and the diffusion of knowledge in the electric telegraph. An older tradition dating at least to the Reformation, with important exponents in the antebellum U.S., identifies democracy with print culture and literacy.  Yet another view saw the “logocracy” of public speech and the emergent popular, participatory forms of the drama and the spectacle as essentially democratic.  Specific literary genres – the novel; free verse – have also been characterized as “democratic,” while critics have vigorously debated the political effects of particular literary styles, notably sentimentality.

Our readings will include classic and contemporary works of democratic theory; critical readings that explore the relationship between verbal and political representation; and a range of literary works that foreground the problem of mediation and its relationship to democratic politics.  Among these literary works will be:  Herman Melville’s Moby-Dick; Harriet Beecher Stowe’s Uncle Tom’s Cabin; Nathaniel Hawthorne’s House of the Seven Gables; selections from Dickinson’s manuscript fascicles; Margaret Fuller’s Woman in the Nineteenth Century; Dion Boucicault’s The Octoroon; William Apess’s Eulogy on King Philip; selected speeches by Daniel Webster, Henry Highland Garnett, and Maria Stewart; William Wells Brown’s Clotel; and Henry Adams’s Democracy. 

Requirements include regular attendance and active participation; a presentation; and a 20-25 page seminar paper produced in stages.

ENGL 90803 Latino/a Poetry
Orlando Menes
TR 3:30-4:45

This course will focus on several prominent contemporary Latino/a poets whose work has enriched and diversified the canon of American poetry in the last 20 years. Among them are such established and acclaimed authors as Gary Soto, Lorna Dee Cervantes, Pat Mora, Martín Espada, and Victor Hernández Cruz. Because Latinos are not homogenous, emphasis will be given to these poets’ diverse ethnic and cultural origins. Though it is almost axiomatic that poets of Latin origin will be grouped together, is this merely a social construction or does a Latino poetics actually exist? This is one important (and I think crucial) question that we will consider throughout the semester. In the process we will discuss not just style, language, and form, but topics like social justice, spirituality and the sacred, the family, and identity (in its multiple forms) that shape and inform the poetic. Readings will be assigned in individual poetry collections and in one anthology. We will also make judicious use of texts in cultural and gender studies, as well as in postcolonial and queer theories.

Assignments: group presentations, response papers, three 4- to 5-page academic papers, and regular attendance. Graduate students are expected to substitute one of the short papers for a longer (10- to 12-page) research paper.

 

FRENCH

ROFR 63050 French Graduate Reading
P. Martin
MWF 8:30-9:20
This one semester, intensive study of French grammar and syntax is designed to assist the graduate student working in any area of the Humanities or Sciences in acquiring intermediate level reading proficiency in French. In addition to the translation exercises and practice reading passages incorporated into Edward M. Stack's Reading French in the Arts and Sciences (4th ed.), student participants will be required to work with scholarly texts pertinent to their field of research. Those students who successfully complete all class and examination requirements will receive departmental certification of their reading proficiency. No prior knowledge of French is assumed.

LIT 73707 From Sans-Souci to The Sans-Culottes: The Literature of The Old Regime and The Revolution
J. Douthwaite
Tuesday/Thursday (T/R) 5:00-6:15

The years 1720-1794 transformed France from a triumphal monarchy into a struggling young republic, then a dictatorship. How did literary writers engage with this traumatic social struggle? This course will study the history of the period and major literary works that reflect on the historical change, by authors such as Montesquieu, Voltaire, Rousseau, Beaumarchais, Michelet, Hugo, Nodier, Mme de Staël, Balzac, and Mme Booser.

LIT 73908 De La Françafrique À La France-À–Fric? Francophone Literature And Postcolonial Studies
A.Rice
TR 3:30 – 4:45

This course will closely examine Francophone literary texts within the context of their composition, taking into account the conditions of their writing and the politics of their publishing. Novels, plays, and poems will be studied along with theoretical works that shed light on the dynamics of postcolonial literary production. We will also watch two movies in an effort to discern how this particular mode of representation compares with and differs from the written text. We will place a special emphasis on Francophone Africa, but we will also consider a variety of works from other geographical regions. The writers and artists whom we will study include: Maïssa Bey from Algeria; Tanella Boni from the Ivory Coast; Ken Bugul from Senegal; Maryse Condé from Guadeloupe; Ananda Devi from Mauritius; Emmanuel Dongala from the Congo; Alain Mabanckou from the Congo; Anna Moï from Vietnam; Sembène Ousmane from Senegal; Sony Labou Tansi from the Congo. Students will be expected to make two oral presentations and complete a 15-20 page paper by the end of the semester

 

IRISH

LIT 73811 Word and Image in Irish Culture, 1750-2000
Luke Gibbons
W 6:30-9:00

Known for its way with words and proliferation of writers, Irish culture is also notable for the (relative) absence of a visual imagination. Why this predominance of word over image? In this seminar, the tensions between verbal and visual expression in Irish culture will be examined, from its basis in the eighteenth-century aesthetics of ‘the sublime’ in Edmund Burke and the painter James Barry, to the visual effects of nineteenth-century Irish romanticism in painting, fiction (e.g. Lady Morgan) and melodrama (e.g. Dion Boucicault), and the modernist experiments of James Joyce. Special emphasis will be placed throughout on the competing claims of narrative and spectacle, time and space, on the Irish cultural landscape, with a view towards analyzing the distinctive features of an emergent Irish/Irish-American cinema, as evidenced in the work of John Ford, Neil Jordan and others.

LIT 73865 Irish Modernism
Maud Ellmann
T 12:30-3:00

This course provides an introduction to the major works of Irish modernism, focusing mainly though not exclusively on fiction, and including writers such as Wilde, Shaw, Yeats, Joyce, Bowen, Beckett, Kate O’Brien, and Molly Keane. We will study these writers in relation to their historical context and to key works of postcolonial and gender theory. Seminars will be largely student-led, with presentations and responses, bibliographical exercises, and general discussion. Some prior knowledge of Joyce’s Ulysses is a valuable, though not a compulsory, prerequisite.

 

ITALIAN

ROIT 63050 Italian Graduate Reading
P. Balma
6:30-9:00 W

This one semester, intensive course will provide students with an accelerated, comprehensive introduction to Italian grammar and syntax and the process of translating Italian texts into English. It is intended for graduate students working in the humanities or sciences, who are interested in acquiring reading proficiency in Italian. A weekly dose of grammar and vocabulary-enhancing activities will be complemented by a series of translation exercises (both in class and at home), which will be assigned in order of increasing difficulty and length. The instructor will offer phonetic guidance in class, but students will not be graded on their pronunciation. A portion of class time will be dedicated to the study and translation of Italian proverbs, common expressions, and popular slang. The last 5 minutes of each class period will be spent learning vocabulary specifically requested by students.

LIT 73665 Dante II
C. Moevs
T/R 9:30-10:45

Dante's Comedy is one of the supreme poetic achievements in Western literature. It is a probing synthesis of the entire Western cultural and philosophical tradition that produced it, a radical experiment in poetics and poetic technique, and a profound exploration of Christian spirituality. Dante I and II are a close study, over two semesters, of the entire Comedy, in its cultural (historical, literary, artistic, philosophical) context. Dante I covers the works that precede the Comedy (Vita Nuova, Convivio, De vulgari eloquentia) and the Inferno, Dante II covers the Purgatorio and Paradiso, along with the Monarchia. These are separate courses, and can be taken independently, though they do form an integrated sequence. The course and all discussion will be conducted in English. Dante's minor works will be read in English translation; all critical articles will be in English. The Comedy will be read in facing-page translation, and we will refer to it in Italian. Acquaintance with Latin or a Romance language is therefore helpful, though not strictly necessary. Crosslist LLRO 40116, ROIT 40116, MI 40553, 60553, LIT 73665

LIT73840 & LIT 71840 History of Italian Cinema I (You must sign up for both the class and lab)
J. Welle
Thursday 3:00-5:30
Monday Lab 3:00-5:30

This course will trace the history of Italian cinema and the development of film culture from the arrival of Edison and the Lumières to the fall of the Fascist regime. For the early period, topics will include: the cinema of attractions and the transition to narrative cinema; film genres and film style: comedies, historical spectacles, melodrama, serials; the discourse of the author; divismo; distribution and exhibition practices; cultural reception: literary intellectuals and the origins of cinema literature: early film criticism, film theory, and “film fiction.” For film in Italy between the wars, topics include: the transition to sound and the questione della lingua; the rebirth of the film industry and discourses of national identity; film comedy, melodrama, and spectacle; Hollywood in Fascist Italy; film magazines and movie-fan culture; the origins of film historiography; the Fascist regime, the Church, and cinema in the 1930s; colonialism in film; theatricality and calligraphism; Ossessione and the discourse of proto-neorealism. Requirements will include: extensive readings in film history and criticism; critical analysis of films; mandatory film screenings; participation in class discussion; a number of class presentations; a research paper. CROSSLIST LIT 73840

 

SPANISH

LIT73708 Rascals, Saints And Soldiers: Golden Age Autobiography
E. Juarez
M 3:00- 5:30

A study of fictional and historical autobiography in Golden Age with attention to the development of the genre and the social and political problems represented in the texts. Taking into account the methodological and theoretical polemic of structure versus agency we will examine the different resources used in these works for the creation of identity. The course includes canonical picaresque novels, Lazarillo de Tormes, Guzmán de Alfarache, El Buscón, as well as the spiritual autobiography of Santa Teresa de Jesús, the life of the transvestite woman Catalina de Erauso, and the adventures of the soldier Alonso de Contreras. Students in this course must participate actively in class discussions. They are required to make brief presentations on critical works, as well as one longer presentation (fifteen minutes). In addition, there will be a midterm exam. The term paper (12-15 pages) will be on a topic individually agreed upon and discussed by each student with the instructor.

LIT 73709 More Than 100 Years of Spanish American Theater
M. R. Olivera-Williams
TR 11:00 – 12:15

The purpose of this senior seminar is to critically evaluate the most representative dramatic trends of the 20th. and 21st-centurries in Spanish America.. We will analyze the development of a genre, which reached its literary and spectacular maturity in the 20th-century. With the support of the main dramatic theories, we will embark in an analytical journey, which will start with the plays that recreate the modern sensitivity of Spanish America and will finish with those written and staged in the 2000s. Plays by authors such as Florencio Sánchez, Samuel Eichelbaum, Rodolfo Usigli, Griselda Gambaro, Jorge Diaz, Vicente Leñero, Sabina Berman, Eduardo Pavlosky, Marco Antonio de la Parra, Ramón Griffero, among others, are going to be studied. Ideally, we would like to posit, from the proposed analysis, certain hypotheses with respect to the present status of the dramatic practice in the Spanish speaking continent. Requirements: Students must participate actively. In addition, each student will lead at least one class discussion, write weekly reaction papers to prepare for class participation and develop two substantial analytical essays. This course is cross-listed with the Senior Seminar ROSP 53980.

LIT73891 Caribbean Discourses of Identity
B. Heller, I. Wilson
MW 11:45-1:00

The complexity of the Caribbean region--multi-national, multi-lingual, with differing histories of colonialism and independence--has made it a key model for the study of post-colonialism, post-modern identities, and globalization. Caribbean Discourses of Identity, explores the aesthetics and histories of the region through its literature. By investigating topics that bind together many of the Caribbean nations, it illuminates the confluences of culture that identify the circum-Caribbean. We will read key essays exploring the issue of Caribbean identities directly (Benítez Rojo's The Repeating Island, Glissant's Caribbean Discourse, Césaire's Discourse on Colonialism) as well as novels, autobiographies, and poetry that deal with slavery, religion and sexuality, and anti-colonialism, such as Carpentier's The Kingdom of This World, Manzano's Autobiography of a Slave, Conde's I, Tituba, Danticat's The Farming of Bones, as well as Césaire's Notebook of a Return to my Native Land and selections from the poetry of Derek Walcott. This is a team-taught seminar, benefiting from the two instructors' differing expertise in the languages and literatures of the region. Taught in English.

 

THEATER

In this course we'll investigate the history and practice of feminist theatre. The seminar will focus not only on feminist playwrights (such as Caryl Churchill, Sarah Daniels, & Pam Gems in England, and Maria Irene Fornes, Paula Vogel, Claire Chafee, Eve Ensler in the US) but also on feminist theories of the theater and on theoretical and critical responses to the plays we read (i.e. Elin Diamond, Sue-Ellen Case, Peggy Phelan, etc.). The course will pay particular attention to feminist theatre by women of color (i.e. Adrienne Kennedy, Ntozake Shange, Suzan-Lori Parks, Cherrie Moraga, Coco Fusco, Diana Son) and to intersections between feminist theatre and queer theatre (The Five Lesbian Brothers, Tony Kushner, Charles Ludlam, Kate Bornstein). We will at all times keep our texts in context, and look closely at the processes and practices which distinguish "feminist" theater (as a stage product, and not merely a playtext) from "nonfeminist" theater. We'll also devote significant attention to feminist performance artists such as Holly Hughes, Karen Finley, Robbie McCauley, and Laurie Anderson.

The course will include several translated texts; PhD in Literature students will be required to read texts in the original language if they have proficiency in that language. In addition, they will be encouraged to pursue a final project that incorporates research in one of their language proficiences (for example, a student proficient in French will be directed to research French feminist theatres). The seminar will require each student to offer a presentation of original research, and to write an article length paper on a topic of their choice.

Texts used will be drawn from the following:

Arrizón, Alicia. Latina Performance: Traversing the Stage. 1999.
Aston, Elaine. Feminist Views on the English Stage. 2003.
Canning, Charlotte. Feminist Theatre in the USA: Staging Women's Experience. 1996.
Case, Sue Ellen. Feminism and Theatre. 1988.
Case, Sue Ellen. Performing Feminisms: Feminist Critical Theory and Theatre. 1990.
Champagne, Lenora. Out from Under: Texts by Women Performance Artists. 1990.
Diamond, Elin. Unmaking Mimesis. 1997.
Dolan, Jill. The Feminist Spectator as Critic. 1988.
Glenn, Susan. Female Spectacle: The Theatrical Roots of Modern Feminism. 2000.
Griffin, Gabriele. Contemporary Black and Asian women playwrights in Britain. 2003.
Hart, Linda and Peggy Phelan. Acting Out: Feminist Performances. 1993.
Hart, Linda. Making a Spectacle: Feminist Essays on Contemporary Women's Theatre. 1989.
Keyssar, Helene. Feminist Theatre: an Introduction. 1988.
Laughlin, Karen, and Catherine Schuler. Theatre and Feminist Aesthetics. 1995.
Martin, Carol. A Sourcebook of Feminist Theatre and Performance. 1996.
Miles, Julia. A theatre for women’s voices : plays & history from the Women’s Project at 25. 2003.
Perkins, Kathy A. and Roberta Uno. Contemporary Plays by Women of Color. 1996.
Reinelt, Janelle and Joseph Roach. Critical Theory and Performance. 1992.
Sandoval-Sánchez, Alberto. Puro Teatro: a Latina Anthology. 2000.
Sandoval-Sánchez, Alberto. Stages of life : transcultural performance & identity in U.S. Latina theater. 2001.
Shanke, Robert and Kim Marra. Staging Desire: Queer Readings of American Theatre History. 2002.

In addition, we will also read plays from collections by individual authors (i.e. Churchill, Kennedy, Fornes, etc.)

 

Courses will be scheduled on the following days:
M = Monday
T = Tuesday
W = Wednesday
H = Thursday
F = Friday
TH = Tuesday & Thursday

Please note: this listing of courses may change for various reasons.