Graduate Courses, Spring 2011
|Course no.||Time(s)||Course title||Instructor|
|CRW 6130||M E1-E3||Graduate Fiction Workshop||Ciment|
|CRW 6166||M 9-11||Verse Forms: The Forms of Translation||Wade|
|CRW 6331||T E1-E3||Graduate Poetry Workshop||Hofmann|
|ENG 6075||W 9-11||Gift Game Strategy Economy||Ulmer|
|ENG 6137||W 6-8
|Film Theory: Agamben||Nygren|
|ENL 6216||M 3-5||Studies in Middle English: Chaucerian Narratology in the Canterbury Tales & the Allegories||Paxson|
|ENL 6256||M 9-11||Toward Modernism: Colonizing Monstrosity in the Victorian Fin de Siècle||Snodgrass|
|ENL 6276||M E1-E3||Joyce & Cultural Studies||Kershner|
|LIT 6236||W 3-5||Cultures of United States Imperialism||Schueller|
|LIT 6308||T 7, R 7-8
|Comics & Animation||Ault|
|LIT 6357||R 9-11||Postwar Radical Movements & the Literary Imagination||Ongiri|
|LIT 6856||F 3-5||Issues of Gender and Sexuality in African Literature||Amoko|
|LIT 6856||T 6-8||Poetry After Punk||Bryant|
|LIT 6934||R 6-8||Studies in Children’s Culture||Cech|
|LIT 6934||M 6-8||Ways of Seeing: Visual Rhetoric/Visual Culture/Visual Literacy||Dobrin|
|LIT 6934||T9-11||The Carceral Imagination||Schorb|
|SPC 6239||T E1-E3||Discourse & Circulation||Gries|
Graduate Fiction Workshop
This course is for MFA degree candidates in fiction only. Basically, it will be run in the “traditional” writing workshop fashion – writer silent while his or her work is discussed. The emphasis this semester will be on structure. Both short stories and excerpts of novels are welcome. Optimally, students will turn in pieces that they have taken as far as they can on their own. The workshop should be a venue to test the waters, to try new things, to present first drafts as well as polished works, but only after the writer has struggled with it to the nth degree. The idea is for students to rigorously challenge themselves. Everyone not presenting work should take their jobs as critics and editors as seriously as they take their own writing.
Attendance is important.
My job as mentor is to help each individual student develop his/her drafts into full-fledged fiction. I don’t believe my role is to make students feel better about their writing, but to give students honest criticism.
Reading will be assigned on an individual basis.
Verse Forms: Poetry Translation
“Poetry is what’s lost in the translation,” Robert Frost is famously supposed to have said. Regardless of whether or not he actually did say it (none of the assiduous researches devoted to the subject have managed to come up with an original text), it’s an assumption that will be discussed and challenged in this class. During this semester students will be asked to translate a minimum of six poems from another language. Before, during, and after the work of translation, we will be discussing a variety of issues involved in the endeavor, such as 1) whether or not a fluent understanding of the original language is necessary to the translator; 2) how the foreign literary landscape influences the work of translation; 3) how one deals with the challenges of form; 4) are translations transcriptions? representations? 5) issues of music, rhythm, speech, drama, nuance, etc. We will also be reading passages on the theory of translation from various texts. Each student will be required to lead one class discussion on the readings, and every week we will workshop students' translations, as per the regular workshop format.
Graduate Poetry Workshop
Poetry workshop incorporating readings in recent British poetry (I’m thinking of Ian Hamilton at the moment, and Ted Hughes).
Gift Game Strategy Economy
The title refers to a set of theoretical operations whose convergence is tracked and tested in this seminar. The methodological frame is heuretics (the logic of invention), and one of the purposes of the seminar is to gain some experience with “invention” as an orientation applicable to any area of the discipline. The semester project is generated by extracting from “the logic of the gift” a principle of “strategy,” to function as an alternative to the strategy of game theory informing American policy during the Cold War. Our interest is not only in political or policy strategy but in “strategy” as an attitude or orientation within any problem field. The heuretic goal is to articulate and test a strategy (a game?) of “gift.” A particular benefit of grounding our experiment in the logic of the gift is that acquaintance with this account of pre-capitalist economy reduces some of the mystery surrounding the most original thinkers of French poststructuralism (for example, Bataille, Derrida, Baudrillard, among others). Readings may include the following: Alan D. Schrift, Ed., The Logic of the Gift: Toward an Ethic of Generosity; William Poundstone, Prisoner’s Dilemma: John Von Neumann, Game Theory, and the Puzzle of the Bomb; Richard A. Lanham, On the Economics of Attention: Style and Substance in the Age of Information; Sun Tzu, The Art of War. The semester experiment is composed as a blog.
Film Theory: Agamben
This seminar will consider film in relation to the theoretical project of Giorgio Agamben. Agamben is one of the most important theorists writing today, and his work represents an important resource for film theory that is only beginning to be explored. The seminar will introduce his work and develop a series of methodological approaches to curent problems in cultural theory, political agency, and film.
Agamben’s conceptual trajectory takes Martin Heidegger and Walter Benjamin as two seemingly incompatible points of departure. He studied with Heidegger in 1966–68, and later edited Benjamin’s complete works in Italian translation as a counter-figure to Heidegger’s forceful but troubling legacy. Agamben has collaborated with Pier Paolo Pasolini, Italo Calvino, Jacques Derrida, Jean-François Lyotard, Jean-Luc Nancy, Antonio Negri, and many others. He teaches at the University of Venice and the International College of Philosophy in Paris, as well as having held visiting appointments at such U.S. universities as Berkeley and Northwestern.
The seminar will work through available translations in English to navigate Agamben’s process of thought. Readings will extend from Infancy and History: The Destruction of Experience (1978, translated 1996), to his most recently translated book, The Signature of All Things: On Method (2008, translated 2009), as well as his essays. The seminar will consider how his project takes up concerns from the late work of Lyotard, Deleuze, Foucault, and Derrida, then goes on to wrestle with the political implications of the world since 9/11. Homo Sacer: Sovereign Power and Bare Life (1998) anticipates this move by proposing the concept of “bare life” in relation to the ancient Roman practice of social exclusion. State of Exception (2005) then revisits the fascist philosophy of Carl Schmitt in the context of Foucault’s late work on biopolitics.
Theoretical work will be mobilized “next to” a series of filmic texts, to paraphrase Deleuze. In other words, theory will operate as neither hierarchically superior to film as explanatory narrative nor secondary to the text as passive interpretation, but as a parallel project in different terms. Accordingly, we will proceed by viewing films in relation to texts, to consider how each may inform a reading of the other. Kaurismäki’s Ariel (Finland, 1988) will be considered next to Agamben’s concept of “bare life,” as parallel approaches to the disastrous economic effects of a deindustrializing society. Pasolini’s The Gospel of St. Matthew (1964), where Agamben plays the part of Philip, will be considered next to Agamben’s The Time That Remains: A Commentary On The Letter To The Romans (2005). Other films, from Mungiu’s Tale from the Golden Age (Romania, 2009), and Ceylan’s Distant (Turkey, 2002) to Weerasethakul’s Tropical Malady (Thailand, 2004) will be similarly mobilized in relation to Agamben’s texts from Stanzas: Word and Phantasm in Western Culture (1979, translated 1993), and The Coming Community (1990, translated 1993) to The Open: Man and Animal (2002, translated 2004).
A broad range of historical, international, documentary, avant-garde and early cinema will be screened as part of the seminar, to extend the parameters of how film is addressed. The complex relationship of international film with political activism will be of special interest, in order to think through the possibilities of textual agency in a postcolonial information economy.
Agamben’s strategies intersect productively with the work of Heidegger, Benjamin, Derrida, Lyotard, Foucault, Jameson and Deleuze, among others, and some of those intersections will be discussed. However, students are not expected to have read any of the theoretical texts in advance. Agamben’s work will be presented as both an introduction to theoretical work for new students, and as advanced material for those already conversant with theory.
This course is designed at one level to be a simple soup-to-nuts introduction to the techniques and technologies of video production, including the whole process from shooting to editing. However, at another level (and indeed perhaps a more fundamental level), the class will be an extended exploration of a more finite number of aesthetic and theoretical issues in experimental media. Specifically, in this course we will explore the terrain often designated by the term “experimental documentary.” We will be looking at the work of filmmakers who use experimental formal strategies as a way of engaging with the world. This practice stands in opposition, on the one hand, to “pure” experimentation (in the form of simple abstraction, for instance) and on the other to more conventional uses of documentary form (talking heads, &c.). Screenings will include work by Barbara Hammer, Alan Berliner, Santiago Alvarez, Craig Baldwin, Frederic Wiseman, Jem Cohen, and many others who have made forays into this territory.
The class assumes no prior experience working with video, but we will attempt to move quickly through the technological to focus more centrally on the aesthetic/ethical/political issues associated with experimental documentary. Those who do have extensive experience with video production should also not be concerned about the “introductory” nature of this course; it is structured in such a way that it can accommodate both novice and expert alike.
From National to Transnational Cinema: The German Case
This course introduces students to the relationship of film to theories of the nation, transnationalism, and globalization through the case of German film. The goal of the course thus is two-fold: we will read foundational texts regarding nationhood and globalization (Benedict Anderson, Immanuel Wallerstein, Michael Hardt & Antonio Negri, Saskia Sassen), as well as the central texts of German film theory (Walter Benjamin, Siegfried Kracauer). The course concludes with current studies about German film in a transnational context (Katrin Sieg, Randall Halle). At the same time, the course will provide graduate students with an overview of German cinema organized around the tension of a national frame and transnational cinematic practices. Films may include but are not limited to: Metropolis, The Blue Angel, Ali: Fear Eats Soul, The Edge of Heaven, It Happened Just Before. Students do not need prior knowledge in film theory or German Studies. Topics for final papers are not limited to German film and can address questions of national cinema and transnational cinematic practices in relation to different national and transnational configurations of film and new media.
Studies in Middle English: Chaucerian Narratology in the Canterbury Tales and the Allegories?
Jorge Luis Borges once said that Western literature passed from the phase of allegory to the phase of the novel with one isolated phrase found in The Knight’s Tale: “Ther saugh I...The smylere with the knyf under the cloke.” We will read all of the Canterbury Tales and the long allegorical poems of Chaucer (House of Fame, Parliament of Fowls, Book of the Duchess, and Legend of Good Women) in order to get at this portentous claim. We must ask: how does Chaucer serve literary history regarding the emergence of literary modernity’s poetics, semiotics and aesthetics while at the same time buoying up archaic allegory? Working with Chaucer’s Middle English, we’ll carry out these tasks in view of literary theory and Chaucer criticism of a decidedly narratological stripe. Course work will include: regular contributions to seminar discussions, weekly one-page reports/responses, one oral presentation, one review of a book of Chaucer criticism, final paper/prospectus. Main text will be The Riverside Chaucer, Larry Benson, ed.; while theoretical and critical work will center on two important, recent studies (each an opus magnum in its own right): Peter Travis’s Disseminal Chaucer: Rereading The Nun’s Priest’s Tale (University of Notre Dame Press, 2009) and David Herman’s Story Logic: Problems and Possibilities of Narrative (University of Nebraska Press, 2008).
Toward Modernism: Colonizing Monstrosity in the Victorian Fin de Siècle
This course will focus on the period from roughly 1880 to 1910, which was fixated on “modernity” (“the New”) and has long been characterized as a time of “transition” from a high Victorian to a Modernist world view. We will investigate particularly why the transformations in Victorian cultural paradigms during this period were so often represented as somehow “monstrous” – reflecting animality, freakishness, deformity, disease, degeneration, corruption, perversion, decadence, or the grotesque – regardless of whether the ostensible subject was a threatening Other or mainstream culture. Indeed, monstrosity was so common a trope in the fin de siècle that artists almost seemed to be attempting to colonize (control and order) the “monstrous” so as to avoid the equivalent of a kind of “post-colonial” chaos.
The course will survey a broad range of noteworthy texts, both written and visual, by familiar figures such as Ruskin, Pater, Wilde, and Beardsley as well as relatively unfamiliar (“non-canonical”) figures such Henry Harland (literary editor of the notorious Yellow Book), “decadent” eccentrics Eric Stenbock and Baron Corvo, “New Woman” writers George Egerton, Vernon Lee, Rosamund Marriott-Watson, and Michael Field (pseudonym for lesbian aunt-and-niece collaborators), among others. The course will try specifically to organize your efforts around producing a successful conference paper. Approximately 50% of the final grade will based on this term paper (and the supporting scholarship) and the other 50% on the quality of weekly reading notes and the degree of preparation for and participation in the discussions of the scheduled reading.
Joyce & Cultural Studies
The course will be an introduction both to James Joyce and to the broad field of cultural studies, using Joyce’s fiction as examples of literary texts with particularly rich cultural resonance – both representationally and as artifacts. We will read Dubliners, A Portrait of the Artist, and Ulysses in conjunction with key concepts in cultural studies. Our emphases will include the areas of
- negotiations of “everyday life” (urban walking, recreation, consumption, etc.);
- high and popular culture interactions (especially with reference to modernism and the birth of “mass media”);
- subject construction and gender relations;
- postcoloniality (especially hybridity and Orientalism); and
- political dimensions (via Bakhtin, Foucault, Jameson, and the Frankfurt School).
Although the course obviously will engage with theory, the stress will be upon specific implications of the literary texts rather than upon the theory in and for itself. As an aid in reading Ulysses, we will use Blamires’s guide to that novel entitled The New Bloomsday Book. I will bring in copies of newspapers and advertisements of the time as well as some examples of the popular reading to which Joyce alludes, show slides of Eugen Sandow the bodybuilder and memorial photography of children, and discuss other examples of material culture from turn-of-the-century Ireland. Since I have been involved in the production of a hypertext Ulysses, we may discuss aspects of that project as it relates to issues raised by cultural studies.
Texts: The new Norton Critical edition of Dubliners (ed. Norris) and the 2nd Bedford Books edition of A Portrait of the Artist as a Young Man (ed. Kershner); Hans Walter Gabler’s edition of Ulysses (the ‘corrected text”) and Harry Blamires’s New Bloomsday Book, 3rd ed. Introducing Cultural Studies is also required. For students interested in pursuing the subject in greater depth my own Joyce, Bakhtin, and Popular Literature is recommended; my Twentieth-Century Novel: An Introduction would be useful for the broader literary background. I will also be distributing material as handouts during the course.
Requirements: Two papers incorporating literary-critical research, the first 8-10 pages long, the second 12-18 pages. An oral presentation in class of a book from a list I will provide. These three requirements will weigh roughly the same in determining 85% of your grade; an additional 15% or so will be determined by class participation.
Cultures of United States Imperialism
This course takes its title from the well-known collection published in 1993 which transformed the field of American studies by making colonialism and imperialism central to conceptions of nation, culture, and identity. The theoretical basis for the course will be the broad field of postcolonial studies and the smaller, but burgeoning, field of U.S. empire studies. We will examine different tropes of empire such as going native, colonial domesticity, imperial eyes, pornotropics, exhibiting empire and remasculinization; at the same time, we will focus on the specific sites of empire such as the “frontier,” Hawai’i, the Philippines, Puerto Rico, and Vietnam. The course will engage with different forms of U.S. imperialism such as North American settler colonialism, Pacific and continental expansionism, control of far-flung colonies, and empire without colonies. We will also examine some cultural expressions of resistance to empire. The course will include a packet of theoretical readings, readings from U.S. empire studies, and a few novels, short stories, and personal narratives. I’m not sure exactly which texts I’ll use but I’ll probably include James Smith’s Account, Susanna Rowson’s Slaves in Algiers, Mary Helen Fee’s A Woman’s Impression of the Philippines, Lois Ann Yamanaka’s Blu’s Hanging, Du Bois’ Dark Princess, Roley’s American Son /Fenkl’s Memories of My Ghost Brother, and some writings of William Apess.
Comics & Animation
This seminar will provide an introduction to a selective and somewhat idiosyncratic history of animated cartoons, comic strips, and comic books and a consideration of theoretical implications of the relations and disjunctions between these fields of imagetextual production. There will be an emphasis on early American productions (1890s-1960s), with significant (though not necessarily extensive) focus on the animation and comic book work of Disney artist/writer Carl Barks, which is central to many of the historical and theoretical problems to be addressed in the seminar.
Text requirement: course pack from Xerographic Copy Center, 927 NW 13th St.
Course requirements: active, productive seminar participation (often based on your own self-initiated interests), an in-class presentation focused on your own specific interests and concerns in this vast field of material, and a final essay that may (but need not) emerge from your in-seminar presentation.
Postwar Radical Movement & the Literary Imagination
We will examine the ways in which cultural, technological, and political movements of the sixties and seventies influenced the literary imagination with a particular emphasis on evolving media culture. These movements include but are not limited to Psychedelic Culture, Black Power, the Asian American Movement, Fluxus, the Anti-War movement, Women’s Liberation, Gay Rights, the American Indian Movement, avant-garde music as characterized by Albert Ayler, John Cage and John Coltrane, the sexual revolution, and Third World Liberation Movements. We will also examine the production of popular novel culture through the work of texts such as Chester Himes’ Cotton Comes to Harlem, Tom Wolfe’s The Electric Kool-Aid Acid Test, and Jacqueline Susann’sThe Valley of the Dolls Critical texts will include George Lipsitz’ Time Passages: Collective Memory and American Popular Culture, Aldon Nielsen’s Black Chant: Languages of African American Modernisms, Jeremy Varon’s Bringing the War Home: The Weather Underground, The Red Army Faction and Revolutionary Violence in the Sixties and Seventies, and Fred Moten’s In the Break: The Aesthetics of Black Radical Tradition among others.
Issues of Gender & Sexuality in African Literature
This course hinges on vexed questions pertaining to issues of gender and sexuality in modern African literature. Since the inauguration of the field in the late nineteen fifties and early sixties, sex and sexuality have constituted a central creative and interpretative problematic. The representational economies of most of the canonical texts of African literature have been called into question on account of their gender and/or sexual logics. Much of this critique has been dependent, for its authority, on theories developed in the Western academy. To what extent can such ostensible “western” theories as feminism and queer theory provide critical paradigms and parameters for the study of putatively African aesthetic objects? Are such theories necessarily inappropriate on their account “eurocentricism”? From the perspective of Western feminism and queer theory, is African literature doomed to seem sexist and heteronormative, if not, homophobic (in silent contradistinction perhaps to more enlightened Western literature)? Is a critique of sexism and heteronormativity in African letters conceivable outside the bounds of Western theory? Alternately, is it not problematic to conceive of African literature in terms its radical difference from the so-called Western tradition? In the name of contesting eurocentricism, do allegedly nativist theories of African literature risk normalizing historical and contemporary social inequalities, not to mention a certain anti-intellectualism? What accounts for the lingering hostility to feminism and especially queer theory in certain prominent quarters of African studies? Is the opposition pitting Western theory and African literature itself part of the problem it purports to resolve? To what extents are the texts in question “African”; to what extent is the theory in question “Western”? We will seek to answer these questions by looking at a range of canonical African fictions and Western theories of gender and sexuality.
Poetry After Punk
This course explores the place of contemporary poetry alongside major cultural shifts of the 1980s. It was a time of “Iron Lady” Margaret Thatcher, a time that “Black British” emerged as a new social identity, a time when Punk went pop. It was an edgy time when cultural studies began to assess the meaning of style, and Bloodaxe Books offered “poetry with an edge.” Because logistics can be tricky when ordering materials too far in advance, I’ll post a finalized list on my website when I confirm their availability later this term. But I’ll definitely teach current laureate Carol Ann Duffy, our own Michael Hofmann (who will attend some of our classes), Kwesi Johnson, Grace Nichols, and Tony Harrison’s V (which responded to a miner’s strike and inspired a film). I have located affordable editions of these texts. I will also compile a collection of poems drawn from Wendy Cope, Tom Paulin, Selima Hill, Tom Raworth, Simon Armitage, and Peter Reading. To tap the cultural milieu, our materials will also include music by The Clash and The Eurythmics, the television series The Young Ones, and the films Sammy and Rosie Get Laid and My Beautiful Laundrette. And to bring extra edge, we will read a cultural studies classic, Derek Hebdige’s Subculture: The Meaning of Style.
Studies in Children’s Culture
This seminar will focus on the creation of a series of original works, in a variety of media (print, video, audio, material), in the domain of children’s culture. The object of the seminar is to explore, using paradigmatic works of children’s literature, a group of genres (e.g. lyric verse, picture books, fairy tales, fantasy) from a number of perspectives – historical, analytical, theoretical, creative. The goal of these explorations will be the production of informed, original works in these areas. A central purpose of the seminar will be to offer a variety of ways for participants to develop their research into forms (e.g. commentaries, reviews, blogs, short video documentaries, stories, interviews, and autobiographical and historical notes) that can be published on the Center for Children’s Literature and Culture website. In essence, this seminar will provide its participants with direct experience in the practice of moving their works directly into the dynamic and expanding possibilities for the public intellectual.
Ways of Seeing: Visual Rhetoric/Visual Culture/Visual Literacy
“… because a way of seeing is also a way of not seeing.”
– Kenneth Burke
This course will engage six primary inquires:
1. As we shift from print culture to screen culture, how must we rethink the very idea of writing and what it means “to write”?
2. Does the idea of “rhetoric” as we have come to understand it still function in an image-driven information exchange, or what happens when we force image into rhetoric? How do we make a new rhetoric of image? Conterminously, we will also consider how theories of image might inform a visual rhetoric (or non-rhetoric).
3. How do we define a “visual culture,” and what is at stake in claiming that we live in a visual culture?
4. How do we actively participate in visual culture as producers and consumers of visual texts?
5. How do the technologies that are used to produce visuals contribute to/participate in the act of visual meaning making, particularly when those technologies convert non-visual information into visual text (i.e. ultrasound, Doppler, or radio telescope)?
6. How might we address visual impairment in a visual culture?
In order to consider these questions, this course will engage three primary activities:
1. We will read and discuss theories pertaining to visual rhetorics, visual cultures, digital literacies, and image theories.
2. We will read, analyze and discuss visual artifacts/texts.
3. We will examine and use new media technologies designed to assist in the invention and production of visual texts.
The Carceral Imagination
This graduate seminar investigates intersections between the development of the prison and the development of modern literature.
The course traces the evolution of the modern penitentiary and the impact of the prison on literature from the eighteenth to twentieth centuries. While the course will spend significant time on the American nineteenth century, we will explore the prison’s transatlantic precursors, as well as its modern effects. Thus, whether your area of focus is 18th century British novels, the American Renaissance, or 20th century fiction, you will gain a framework and tools for contextualizing the period that most interests you.
In addition to secondary scholarship on the history of prisons and punishment, readings will be drawn from the following: essays and treatises by early transatlantic reformers that shaped the development of the penitentiary; literary and social theory; and imaginative fiction. For example, we will explore John Bender's contention that “prose fiction enabled the conception and construction of actual penitentiary prisons later in the eighteenth century” (Imagining the Penitentiary, 1) and Caleb Smith’s deconstruction of civic death and rebirth, two literary tropes so central to rehabilitative discourse (Prison and the American Imagination, 10). We’ll also consider the relationship between carceral theory and narrative technique using Foucault’s theories of spectacle, panopticism, etc.
Assigned literature is likely to include Henry Fielding, Moll Flanders; John Gay, The Beggar’s Opera; Herman Melville, “Bartleby The Scrivener”; Nathaniel Hawthorne, The Scarlet Letter; Edgar Allen Poe, “The Pit and the Pendulum”; Jack London, Star Rover; and prisoner-penned exposes by Donald Lowrie, George Jackson, and others. You will have opportunities to work on texts not on the syllabus.
Assignments include archival work, periodic short response papers, and a final seminar paper.
Discourse & Circulation
In an increasingly networked culture, discourse circulates in nonlinear, unpredictable ways. As it circulates, discourse evolves and transforms, affecting consequences in ways that could not have been anticipated by the “original” author. While much scholarship offers productive ways to study static texts produced in particular moments of time and place, how can we both theorize and account for the circulation and transformation of discourse in a digital age? This course addresses this inquiry by introducing students to theories of time, philosophies of becoming (transforming, mutating, and metamorphosing), and a consequentialist philosophy of discourse.
Throughout the course, you can expect to encounter the scholarship of Nietzsche, Bergson, and Deleuze – all of whom insist on the openness of futurity – those spans of time beyond the initial moment of textual production and delivery. We will also look to the contemporary work of Elizabeth Grosz, Manuel DeLanda, Bruno Latour, Greg Urban, and Kevin Porter, among others, for productive ideas about studying discourse as it unfolds with time. Texts we most likely will dive into include, among others,:
- “Reason in Philosophy” in Twilight of the Idols, Friedrich Nietzsche
- Creative Evolution and “The Perception of Change,” Henri Bergson
- Specters of Marx, Jacques Derrida
- What is Philosophy?, Gilles Deleuze and Félix Guattari
- Cinema 2 and Difference and Repetition, Deleuze
- Becomings: Explorations in Time, Memory, and Future,Ed. by Elizabeth Grosz
- Parables for the Virtual, Brian Massumi
- Meaning, Language and Time, Kevin Porter
- Metaculture: How Culture Moves through the World, Greg Urban
- Pandora’s Hope and Reassembling the Social, Bruno Latour
- A New Philosophy of Society, Manuel DeLanda
- “Rhetorical Circulation in Late Capitalism,” Catherine Chaput
- No Caption Needed, Hariman and Lucaites
In terms of your own scholarship, you will have the opportunity to theoretically engage with studies of meaning, discourse, and circulation. You will also play with a consequentialist approach to study how discourse, of significance to you, acquires meaning as it affects material consequences during circulation. While such a research approach is obviously useful to studies of remix and remediation, students will explore how this approach can be useful across a wide range of discourse studies.