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Elizabeth Cullingford, Chair CAL 226, Mailcode B5000, Austin, TX 78712 • 512-471-4991

Brian Doherty

Senior Lecturer Ph.D., 1994, University of Wisconsin-Milwaukee

Brian Doherty

Contact

Biography

Brian Doherty is a senior lecturer in the English Department. He received his Ph.D. from the University of Wisconsin-Milwaukee in 1994. Courses taught in Masterworks of World Literature have led to an interest in the newly developing canon of global world literature. He has an essay in progress on ''Three Presentations of Achebe's Things Fall Apart'' which looks at the novel in context of three different anthologies.

Interests

World literature.

E 348 • The Short Story

35785 • Fall 2014
Meets MWF 200pm-300pm PAR 105
show description

Instructor:  Doherty, B

Unique #:  35785 and 35790

Flags:  Writing

Semester:  Fall 2014

Cross-lists:  n/a

Computer Instruction:  No

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: Let’s have four short courses in the short story, each one centered on a volume of work. The first is Kafka and his descendants, beginning with the master of alienation and including  writers who take up some of Kafka’s concerns and stylistic innovations. A second will take a geographic and cultural foray into literature of China, beginning with the acknowledged master Lu Xun, and moving to more contemporary writers like Wang Meng. A third strain begins with Alice Munro’s deeply psychological and finely crafted stories and read some contemporaries who employ the same kinds of methodology and insight, Like William Trevor and Jhumpa Lahiri. A fourth and final strain will take a very recent collection—Nathan Englander’s What We Talk About When We Talk About Anne Frank—juxtaposed against some powerful contemporary writers. These last may be taken from the weekly selection of writers chosen by The New Yorker during the semester. They may include writers who visit the UT campus or read at Bookpeople during the semester.

Texts: Kafka’s Selected Stories, A Norton Critical Edition, Edited by Stanley Corngold; The Real Story of Ah-Q and Other Tales of China, Penguin Classics; Runaway, Alice Munro; What We Talk About When We Talk About Anne Frank, Nathan Englander.

Requirement & Grading: Two tests, on the Kafka and Lu Xun section. Author biographies, literary periods, plot points: 10% each (20%); Two short (2-3-page) papers on individual stories: 20%; Periodic quizzes on the day’s reading (best 5 of 7 taken for grade): 10%; Participation in class discussion analyzing the stories: 10%; Prospectus for sustained analytical paper (2-3 pages): 10%; Final paper (6-8 pages): 30%.

This is a discussion-based format (which includes listening). Absence from class severely limits your ability to discuss or listen. Excessive absences (more than 4) will detract from your grade (10 points for each class day missed after 4).

E 348 • The Short Story

35790 • Fall 2014
Meets MW 300pm-430pm PAR 103
show description

Instructor:  Doherty, B

Unique #:  35785

Flags:  Writing

Semester:  Fall 2014

Cross-lists:  n/a

Computer Instruction:  No

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: Let’s have four short courses in the short story, each one centered on a volume of work. The first is Kafka and his descendants, beginning with the master of alienation and including  writers who take up some of Kafka’s concerns and stylistic innovations. A second will take a geographic and cultural foray into literature of China, beginning with the acknowledged master Lu Xun, and moving to more contemporary writers like Wang Meng. A third strain begins with Alice Munro’s deeply psychological and finely crafted stories and read some contemporaries who employ the same kinds of methodology and insight, Like William Trevor and Jhumpa Lahiri. A fourth and final strain will take a very recent collection—Nathan Englander’s What We Talk About When We Talk About Anne Frank—juxtaposed against some powerful contemporary writers. These last may be taken from the weekly selection of writers chosen by The New Yorker during the semester. They may include writers who visit the UT campus or read at Bookpeople during the semester.

Texts: Kafka’s Selected Stories, A Norton Critical Edition, Edited by Stanley Corngold; The Real Story of Ah-Q and Other Tales of China, Penguin Classics; Runaway, Alice Munro; What We Talk About When We Talk About Anne Frank, Nathan Englander.

Requirement & Grading: Two tests, on the Kafka and Lu Xun section. Author biographies, literary periods, plot points: 10% each (20%); Two short (2-3-page) papers on individual stories: 20%; Periodic quizzes on the day’s reading (best 5 of 7 taken for grade): 10%; Participation in class discussion analyzing the stories: 10%; Prospectus for sustained analytical paper (2-3 pages): 10%; Final paper (6-8 pages): 30%.

This is a discussion-based format (which includes listening). Absence from class severely limits your ability to discuss or listen. Excessive absences (more than 4) will detract from your grade (10 points for each class day missed after 4).

E S349S • Bob Dylan

83405 • Summer 2014
Meets MTWTHF 1130am-100pm PAR 301
show description

Instructor:  Doherty, B

Unique #:  83405

Semester:  Summer 2014, second session

Cross-lists:  n/a

Flags:  n/a

Computer Instruction:  No

Prerequisites: Six semester hours of upper-division coursework in English.

Description: Bob Dylan is admired by many as a poetic troubadour who forever transformed the way we think of popular music. Others are less appreciative of his contributions to culture, and emphasize his enigmatic imagery, gravelly voice, and chameleonic nature. This course is open to those of both persuasions, but we will try to support the first point of view in our study of Dylan’s music, poetry, and memoir.

Reading for the class will come primarily from the lyric sheets from some of Dylan’s albums, especially Highway 61 Revisited, Blonde on Blonde, and Blood on the Tracks. Some days, students will be asked to read and evaluate the song/poems in a personal, somewhat casual fashion; other days we will take the same poems and read them through their commentators, like literary critic Chrisopher Ricks or music critic Sean Wilentz. Along the way, we will be attentive to the “myth of Dylan” and what that says about the United States. Required film texts will be D.A. Pennbaker’s Don’t Look Back, Martin Scorcese’s No Direction Home, and Todd Haynes’ portrait of the artist played by six different actors, I’m Not There.  Since Dylan didn’t live and work in a vacuum, we’ll take a few forays into work by contemporaries Joni Mitchell, Leonard Cohen, and The Band.

Texts: Bob Dylan. Chronicles: Volume One. Simon and Schuster, 2005 • Highway 61 Revisited; Blonde on Blonde; Blood on the Tracks.

Other Dylan pieces will be read using the miracle of modern media technology, but students should be prepared to have the complete album of work from these three titles.

Course Reader with analytical essays, interviews, reviews, sections from Woody Guthrie’s Bound for Glory, and other readings on Dylan.

Requirements & Grading:  Two formal song analyses (2 pages each), 20%; In-class quizzes (best 4 of 6 taken for grade), 10%; Participation in classroom discussion, 10%; Short “homework” assignments, in-class writing, or Blog participation, 15%; Proposal for a formal paper on Dylan as literary artist, 15%; A personal, thoughtful, analytical journal of your journey through Bob Dylan’s work and career 30%.

E 316K • Masterworks Of Lit: World

35750-35805 • Spring 2014
Meets TTH 330pm-500pm BUR 106
(also listed as C L 315 )
show description

Instructor:  Doherty, B

Unique #:  35750-35805

Semester:  Spring 2014

Cross-lists:  C L 315

Prerequisites: E 603A, RHE 306, 306Q, or T C 603A, and a passing score on the reading section of the Texas Higher Education Assessment (THEA) test.

Description: Please refer to the course schedule for course days, time, and room location: http://registrar.utexas.edu/schedules/.

Global Modern Literature—

The course will be run in three sections. The first will be reading in literary periods from The Enlightenment through Romanticism and Realism, into Modernism. A second section will explore issues in Africa and the African diaspora. A third section will cover texts from East Asia, including China, Japan, Korea and Vietnam.

The bulk of the reading will consist of substantial shorter works, from poems to short stories, shorter novels and plays. From the canon of literature to which the students will be exposed, perceptive readers will gain an appreciation of why literature is an essential response to the modern world. It is hoped that the course will be an incitement to a lifetime of sustained literary engagement on a high level.

Texts: The Norton Anthology of World Literature, Puchner, Martin, ed.  Third Edition, Volumes D-E-F. (It is essential that students have the Third Edition.)

Requirements & Grading: Attendance, participation in TA led discussions: 10%; 2-3-page review of World Culture Film or Live Cultural Event: 10%; Test one (Enlightenment through Modernism in Europe): 25%; Essay on second set of readings (3-4 pages): 20%; Final exam covers all material since first test: 35%.

E 324 • Themes In The Graphic Novel

35875 • Spring 2014
Meets TTH 1230pm-200pm BEN 1.126
show description

Instructor:  Doherty, B

Unique #:  35875

Semester:  Spring 2014

Cross-lists:  n/a

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: Some of the more exciting forms of literary expression in the past decades have come from Graphic Novels. We will look at a sample of the graphic novels that have had a great impact on readers here and abroad. In our reading, we will identify several kinds of themes: historical novels, speculative, socially engaged novels, and novels that work as queries into the intensely personal. Our analysis will involve the combination of prose and graphic, as well as the sequencing, that defines the graphic novel against other kinds of literature. A substantial component of the class will be in independent reading, where students choose a series to read and follow (like Y: The Last Man by Brian Vaughn, Echo by Terry Moore, DMZ by Brian Wood, Love and Rockets by Los Bros Hernandez, etc.)

Texts (A partial list, subject to change): Bechdel, Allison. Are You My Mother; Gaiman, Neil. Death: Deluxe Edition; Hergé. The Adventures of Tintin; Lutes, Jason. Berlin, City of Stones and Berlin: City of Smoke; Satrapi, Marjane. Persepolis, I and II; Spiegelman, Art. In the Shadow of No Towers; Vaughn, Brian. Pride of Baghdad.

Students will write one paper on a series of their choosing, subject to approval.

Requirements & Grading: Participation in Class discussion, 10%; Quizzes on Reading, 10%; Independent reading paper, 20%; Weekly Reading Responses, 30%; Final Paper (8-10 pages), 30%.

E 348 • 20th-Century Short Story

35810 • Fall 2013
Meets TTH 1230pm-200pm PAR 105
show description

Instructor:  Doherty, B            Areas:  III / U

Unique #:  35810            Flags:  n/a  (non-writing flag)

Semester:  Fall 2013            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: In this short story class we will classic and contemporary texts in the genre. The 40 Short Stories anthology will give us a glimpse into transformative writers like Chekhov, Joyce, Faulkner, Garcia-Marquez, and Carver. We’ll use our Course Reader to go a little more thoroughly into the writer’s styles and concerns—so on Joyce day we will have two Joyce stories, three stories by Carver, etc. We’ll pay some attention to the periods or styles in which the writers are usually placed (realist, modernist, southern gothic, magical realist, etc.) and the historical issues addressed in the work. In a brief departure from the survey course of the short story, we’ll take a sustained look at one of the acknowledged masters, reading most of Alice Munro’s 2002 collection (hoping to time it with the release of the film based on the title story). And we will have some days where we will read the work of writers who are reading in Austin, and writers who are published in the most recent volumes of publications like The New Yorker. The course reader will also introduce students to contemporary writers both American (George Saunders, Karen Russell) and international (Yiyun Lee, Haruki Murakami).

Texts: 40 Short Stories, Beverly Lawn, ed.; Hateship, Friendship, Courtship, Loveship, Marriage, Alice Munro; A course reader.

Requirement & Grading: A test on the classic authors. (Author biographies, literary periods, plot points)  (25%); A test on realist authors and Alice Munro 25%; Periodic quizzes on the day’s reading (best 5 of 7 taken for grade): 10%; Participation in class discussion analyzing the stories: 10%; Short essay (3-4 pages) on one story from the course (variable due dates): 20%; Short assignments and blackboard discussion posts: 10%

This is a discussion-based format (which includes listening). Absence from class severely limits your ability to discuss or listen. Excessive absences (more than 4) will detract from your grade (10 points for each class day missed after 4).

E 348 • 20th-Century Short Story

35815 • Fall 2013
Meets TTH 330pm-500pm PAR 103
show description

Instructor:  Doherty, B            Areas:  III / U

Unique #:  35815            Flags:  Writing

Semester:  Fall 2013            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: In this short story class we will classic and contemporary texts in the genre. The 40 Short Stories anthology will give us a glimpse into transformative writers like Chekhov, Joyce, Faulkner, Garcia-Marquez, and Carver. We’ll use our Course Reader to go a little more thoroughly into the writer’s styles and concerns—so on Joyce day we will have two Joyce stories, three stories by Carver, etc. We’ll pay some attention to the periods or styles in which the writers are usually placed (realist, modernist, southern gothic, magical realist, etc.) and the historical issues addressed in the work. In a brief departure from the survey course of the short story, we’ll take a sustained look at one of the acknowledged masters, reading most of Alice Munro’s 2002 collection (hoping to time it with the release of the film based on the title story). And we will have some days where we will read the work of writers who are reading in Austin, and writers who are published in the most recent volumes of publications like The New Yorker. The course reader will also introduce students to contemporary writers both American (George Saunders, Karen Russell) and international (Yiyun Lee, Haruki Murakami).

Texts: 40 Short Stories, Beverly Lawn, ed.; Hateship, Friendship, Courtship, Loveship, Marriage, Alice Munro; A course reader.

Requirement & Grading: A test on the classic authors. (Author biographies, literary periods, plot points)  (20%); Two short (2-3-page) papers on individual stories: 20%; Periodic quizzes on the day’s reading (best 5 of 7 taken for grade): 10%; Participation in class discussion analyzing the stories: 10%; Prospectus for sustained analytical paper (2-3 pages): 10%; Final paper (6-8 pages): 30%.

This is a discussion-based format (which includes listening). Absence from class severely limits your ability to discuss or listen. Excessive absences (more than 4) will detract from your grade (10 points for each class day missed after 4).

E F316K • Masterworks Of Lit: World

83505 • Summer 2013
Meets MTWTHF 100pm-230pm JGB 2.202
show description

Instructor:  Doherty, B            Areas:  -- / B

Unique #:  83505            Flags:  Global cultures

Semester:  Summer 2013, first session            Restrictions:  n/a

Cross-lists:  C L 315            Computer Instruction:  No

Prerequisites: E 603A, RHE 306, 306Q, or T C 603A, and a passing score on the reading section of the Texas Higher Education Assessment (THEA) test.

Description: Please refer to the course schedule for course days, time, and room location: http://registrar.utexas.edu/schedules/.

Global Modern Literature—

We will use the Norton Anthology to discuss a wide variety of Twentieth Century Texts from around the globe. There will be three interconnected contexts for our reading: (1) Literary periods and approaches European (Modernism (Kafka, Joyce, Woolf); World Modernism (Lu, Chang); Post-modernism (Beckett and Lispecter), Romanticism (Tagore), Realism (Munro, Lessing), Surrealism (Cesaire); orality (Diop, Peynetsa); (2) Intellectual and cultural movements (Marxism, Psychoanalysis); and literary and testimonial responses to historical events such as Stalin’s Russia (Akhmatova) the concentration camps and the Holocaust (Borowski, Bachman); the modern Middle East (Amichai, Yehoshua),

The bulk of the reading will consist of substantial shorter works, from poems to short stories, shorter novels and plays. From the canon of literature to which the students will be exposed, perceptive readers will gain an appreciation of why literature is an essential response to the modern world. It is hoped that the course will be an incitement to a lifetime of sustained literary engagement on a high level.

Texts: The Norton Anthology of World Literature, volume F; Supplementary Material Available on Electronic Reserves; Some Film Texts will be required.

Requirements & Grading: Attendance, participation in class discussion: 15%; 2-3-page review of World Culture Film: 10%; Test one (Modernism in Europe and the World): 25%; Essay on second set of readings (3-4 pages): 15%; Final exam covers all material since first test: 35%.

E S349S • Bob Dylan

83748 • Summer 2013
Meets MTWTHF 1000am-1130am WEL 2.256
show description

Instructor:  Doherty, B Areas:  I / H

Unique #:  83748 Flags:  n/a

Semester:  Summer 2013, second session Restrictions:  n/a

Cross-lists:  n/a Computer Instruction:  No

 

Prerequisite: Six semester hours of upper-division coursework in English.

Description: Please refer to the course schedule for course days, time, and room location: http://registrar.utexas.edu/schedules/

Description: Bob Dylan is admired by many as a poetic troubadour who forever transformed the way we think of popular music. Others are less appreciative of his contributions to culture, and emphasize his enigmatic imagery, gravelly voice, and chameleonic nature. This course is open to those of both persuasions, but we will try to support the first point of view in our study of Dylan’s music, poetry, and memoir.

Reading for the class will come primarily from the lyric sheets from some of Dylan’s albums, especially Highway 61 Revisited, Blonde on Blonde, and Blood on the Tracks. Some days, students will be asked to read and evaluate the song/poems in a personal, somewhat casual fashion; other days we will take the same poems and read them through their commentators, like literary critic Chrisopher Ricks or music critic Greil Marcus. Along the way, we will be attentive to the “myth of Dylan” and what that says about the United States. Required film texts will be D.A. Pennbaker’s Don’t Look Back, Martin Scorcese’s No Direction Home, and Todd Haynes’ portrait of the artist played by six different actors, I’m Not There.

Texts: Bob Dylan. Chronicles: Volume One.  Simon and Schuster, 2005.

Highway 61 Revisited

Blonde on Blonde

Blood on the Tracks

Other Dylan pieces will be read using the miracle of modern media technology, but students should be prepared to have the complete album of work from these three titles.

Greil Marcus. Like a Rolling Stone: Bob Dylan at the Crossroads. PublicAffairs, 2006.

Course Reader with analytical essays, reviews, sections from Woody Guthrie’s Bound for Glory, and other readings on Dylan.

Requirements & Grading: “Book Report” on a book about Dylan (2-4 pages), 10%; Two song analyses (2 pages each), 20%; In-class quizzes (best 4 of 6 taken for grade), 10%; Participation in classroom discussion, 10%; Short “homework” assignments or Blackboard discussions, 10%; Prospectus on final paper on an aspect of Dylan’s writing/career, 10%; Final paper for the session (5-7 pages), 30%.

E 360L • Global Literature In English

35565 • Spring 2013
Meets MWF 900am-1000am PAR 204
show description

Instructor:  Doherty, B            Areas:  V / G

Unique #:  35565            Flags:  Global Cultures; Writing

Semester:  Spring 2013            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: From Oceania to Jamaica, Canada to South Africa, India to Nigeria, and numerous other lands, English is the language for literary artists. We will engage with the various and diverse products of the range of voices, discovering that literature is a vital tool for understanding cultures, histories, the vastness of human experience and the human imagination. A central question that will guide some of our literary travels is: what happens to the English language as it travels to and interacts with cultures far from London and Oxbridge?  Students will develop an expanded notion of the written world.

Texts: Dohra Ahmad, Rotten English: A Literary Anthology; Helon Habila, Measuring Time; James Kelman, How Late it Was, How Late; Austin Clarke, The Polished Hoe; A course reader with essays and short stories.

Film Texts will include Danny Boyle’s Trainspotting, Mike Leigh’s Riff-Raff, and Michael Thelwell’s The Harder They Come.

Requirements & Grading: Grading will be done on a variety of assignments, including participation in discussions, short papers, a presentation on a historical aspect of some of our reading, a prospectus for a semester’s end paper and the final paper.

E 379R • Lit And Culture Of The 1960s

35735 • Spring 2013
Meets MWF 200pm-300pm PAR 310
show description

Instructor:  Doherty, B            Areas:  VI / I

Unique #:  35735            Flags:  Writing; Independent Inquiry

Semester:  Spring 2013            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

 

Only one of the following may be counted: 679HA (Topic: Literature and Culture of the Sixties), 379N (Topic: Literature and Culture of the 1960s), 379R (Topic: Literature and Culture of the 1960s), 379S (embedded topic: Literature and Culture of the 1960s).

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: The 60s continues to fascinate: as myth, as reality, as a kind or origin of so much of what has survived today. Our attempt at a productive engagement with the decade will include several forays of independent study and several texts we will read in common. Independent work will be done by students in the print culture of the day—from the glossy photojournalism of Life Magazine to the counterculture literary journalism of Ramparts and The Evergreen Review to the mimeograph produced underground press. Students will also choose a recently published book on the 60s—choosing between memoir, reassessments, or focused histories.

Some authors we will read in common are Donald Barthelme, Bob Dylan, Joan Didion, Amiri Baraka, and Thomas Pynchon. We will take a little time to study some texts by 60s gurus like Timothy Leary, Richard Alpert, and Carlos Casteneda.

It is hoped that by the end of the semester students will have a greater understanding of this turbulent, charged period in American culture, and many more questions about the decade than they had at the beginning of the course.

Texts: Donald Barthelme, Sixty Stories; Thomas Pynchon, The Crying of Lot 49; Resources in the Perry Casteneda Library; Course Reader.

Requirements & Grading: Report on assigned book, read independently (3-4 pages), 10%; Report on a significant album of 60s music (15-minute presentation and 3-4 pages written), 20%; Report on an underground newspaper (2-3 pages), 10%; Two or three short assignments (2-3 pages each), 10%; Participation in class discussion, 10%; Periodic quizzes on reading material, 10%; Final paper/project, 30%.

E 603A • Comp And Reading In World Lit

34550 • Fall 2012
Meets MWF 1100am-1200pm CAL 200
show description

The course is designed in two ways—(1) to show the relevance and vitality of classic and modern culture in the present day, and (2), to explore a range of literature from a variety of western and non-western cultures.

For (1), we will have sequences of reading with a foundation in a live Austin performance.  For the annual reading of translator and performer Stanley Lombardo we will have a classical sequence based on his scheduled readings.  We will deeply explore Shakespeare’s The Merchant of Venice in preparation for the annual visit of The Actors from the London Stage.  We will read and discuss the relevant play we choose from the Department of Theater or St. Edward’s season.  And we will read from notable authors scheduled to read at UT.   Attendance will be required for the majority of these performances.

For (2), there will be a series of mini-courses, so to speak.  We will have a comparable reading of war epics—from The Iliad to The Mahabharata to the Mali Empire Epic Sundiata.  There will be what might be considered mini-courses—reading in Confucius and Lao Tsu will be followed by T’ang Dynasty poets, then the Chinese turn-of-the-century writer Lu Xun and an important living writer.  Modern India will be explored through short stories by Rabindranath Tagore, Premchand, and R.K. Narayan, and through a major novel like Arundhati Roy’s The God of Small Things.  Either Africa or South America will be featured in a third mini-course.

For a blend of (1) and (2) we will read a text or texts at the end of the first semester by the 2012 Nobel Prize Winner in Literature.  We will know who that is some time in October.

Film will be an essential component of our course.

Texts:

Shakespeare, William.  The Merchant of Venice.  (Norton Critical Editions, editor, Leah S. Marcus).

Narayan, R.K.  The Mahabharata: A Shortened Modern Prose Version of the Original Epic

Other texts will be ordered by mid-summer, dependent on Austin performances.

A Course Reader and online texts will contain required material.

Assignments:

Three or five short assignments (Library Treasure Hunt, Epic Storytelling, reviews of readings/ performances, etc.)    10%

Oral Presentation on assigned topic to enhance reader understanding of texts.   10%

Active and useful participation in class discussion.                                            10%

Short, objective quizzes on the reading (to encourage preparedness)                 10%

Short Paper on The Merchant of Venice section (3-4 pages).                              20%

Short Paper on Greek or Indian Epic section.                                                    20%

Short Paper on Nobel Winner.                                                                          20%

Papers subject to student revision, except the last paper.  It is hoped that the numerous short assignments allow for growth and the development of good writing practices.

About the Professor:

Brian Doherty is a senior lecturer in the English Department. He received his Ph.D. from the University of Wisconsin-Milwaukee in 1994. Courses taught in Masterworks of World Literature have led to an interest in the newly developing canon of global world literature. He has an essay in progress on ''Three Presentations of Achebe's Things Fall Apart,'' which looks at the novel in context of three different anthologies.

E 316K • Masterworks Of Lit: World

35230-35275 • Fall 2012
Meets MWF 900am-1000am WCH 1.120
(also listed as C L 315 )
show description

Instructor:  Doherty, B            Areas:  n/a

Unique #:  35230-35275            Flags:  Global cultures

Semester:  Fall 2012            Restrictions:  n/a

Cross-lists:  C L 315            Computer Instruction:  No

Prerequisites: Completion of at least thirty semester hours of coursework, including E 603A, RHE 306, 306Q, or T C 603A, and a passing score on the reading section of the Texas Higher Education Assessment (THEA) test.

Description: Global Modern Literature--

We will use the divisions made in our anthology, thus there will be three historical foci: Modernity and Modernism; Postwar and Postcolonial Literature; and Contemporary World Literature. We will examine how history transforms literary values and the impact of individual authors on their literary descendants. Students should acquire a solid idea of what it is that constitutes modernism in literature, as well as an understanding of such terms as postmodernism, postcolonialism, Marxism, realism, etc. It is hoped that from this wide variety of modern and contemporary authors, students will construct the foundation for a lifetime of substantive and enriching literature.

Texts: The Norton Anthology of World Literature, Volume F, Third Edition. (Cover art is a painting called Tamara in the Green Bugatti).

Requirements & Grading: Test #1 (on Modernity and Modernism), 20%; Essay Test (on texts from Postwar writing; take home), 25%; Final Exam (on texts from 2nd and 3rd section of course), 35%; TA Section Participation, 15%; Live World Literary Culture Review, 5%.

E 348 • 20th-Century Short Story

35445 • Fall 2012
Meets MWF 100pm-200pm PAR 204
show description

Instructor:  Doherty, B            Areas:  III / U

Unique #:  35445            Flags:  Writing

Semester:  Fall 2012            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: Let’s have four short courses in the short story, each one centered on a volume of work. The first is Kafka and his descendants, beginning with the master of alienation and including  writers who take up some of Kafka’s concerns and stylistic innovations. A second will take a geographic and cultural foray into literature of China, beginning with the acknowledged master Lu Xun, and moving to more contemporary writers like Wang Meng. A third strain begins with Alice Munro’s deeply psychological and finely crafted stories and read some contemporaries who employ the same kinds of methodology and insight, Like William Trevor and Jhumpa Lahiri. A fourth and final strain will take a very recent collection—Nathan Englander’s What We Talk About When We Talk About Anne Frank—juxtaposed against some powerful contemporary writers. These last may be taken from the weekly selection of writers chosen by The New Yorker during the semester. They may include writers who visit the UT campus or read at Bookpeople during the semester.

Texts: Kafka’s Selected Stories, A Norton Critical Edition, Edited by Stanley Corngold; The Real Story of Ah-Q and Other Tales of China, Penguin Classics; Runaway, Alice Munro; What We Talk About When We Talk About Anne Frank, Nathan Englander.

Requirement & Grading: Two tests, on the Kafka and Lu Xun section. Author biographies, literary periods, plot points: 10% each (20%); Two short (2-3-page) papers on individual stories: 20%; Periodic quizzes on the day’s reading (best 5 of 7 taken for grade): 10%; Participation in class discussion analyzing the stories: 10%; Prospectus for sustained analytical paper (2-3 pages): 10%; Final paper (6-8 pages): 30%.

This is a discussion-based format (which includes listening). Absence from class severely limits your ability to discuss or listen. Excessive absences (more than 4) will detract from your grade (10 points for each class day missed after 4).

E F379R • Lit And Culture Of The 1960s

83725 • Summer 2012
Meets MTWTHF 1130am-100pm PAR 302
show description

Instructor:  Doherty, B            Areas:  VI / I

Unique #:  83725            Flags:  Writing; Independent Inquiry

Semester:  Summer 2012, first session            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Only one of the following may be counted: 679HA (Topic: Literature and Culture of the Sixties), 379N (Topic: Literature and Culture of the 1960s), 379R (Topic: Literature and Culture of the 1960s), 379S (embedded topic: Literature and Culture of the 1960s).

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: The primary emphasis for this version of the course will be literature, inclusive of short story, novel, song text, poetry, and memoir.  We will have a reader with short stories from the black humorists, American postmodernism, the Black Arts Movement, and women writers who fit none of the above categories.  Students might be expected to have a passing knowledge of some of the primary social and cultural movements of the era, but these will be secondary to evaluating the transformations in literary culture that occurred during the era.  Writers include Barth, Barthelme, Pynchon, Southern, Vonnegut, Didiion, Wakowski, Baraka, Sanchez Giovanni, Walker.

At the end of each week, we will closely evaluate an influential album of 60s music—or two.  Hendrix, The Doors, Janis, Beatles or Rolling Stones, Dylan and The Band, Marvin Gaye, Sly and the Family Stone.  Zappa.

Texts: Thomas Pynchon, The Crying of Lot 49; also, texts in Course Reader and on Electronic Reserves.

Requirements & Grading: Periodic, required submission to the Blackboard discussion board, 10%; Quizzes on daily reading (best 6 of 8 taken for grade), 15%; 2 short papers on assigned text, 20%; Prospectus for paper or project (2-3 pages), 10%; Paper or alternative project on topic of choice (6-8 pages; due no later than Thursday, July 5.), 30%; Attendance, class participation, 15%.

E S360L • New Brit Voices, 1948-2012-Eng

83890 • Summer 2012
Meets
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Instructor:  Doherty, B            Areas:  III / G

Unique #:  83890            Flags:  n/a

Semester:  Summer 2011, second session            Restrictions:  Oxford Summer Program participants

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: The end of World War II brought waves of immigrants to England from the far-flung shores of the once mighty British Empire. The rich and varied cultures of the home countries of the South Asia, Africa, and the Caribbean have transformed English cuisine, popular culture, and even the language. The new face of England has also produced racial hatred, hooliganism, and social unrest.

Postcolonial British literature since 1948 gives readers a complex, nuanced, and powerful vision of the new England that is rich in history. Sam Selvon’s The Lonely Londoners, written in the vernacular of the immigrant underground, is the indispensable origin text. Andrea Levy takes some of the same experiences and adds multiple perspectives to the travails of the new “arrivants” from Jamaica. Wadham College alumni Monica Ali writes movingly of Bangledeshi immigrants in her novel Brick Lane. We will read the Oxford Experiences of cultural critic Stuart Hall and poet and novelist Dambudzo Marechera, and experience the “dub poetry” of cultural icon Linton Kwesi Johnson.

We will invite one or more of the authors to visit the class in Oxford to discuss their work. Schedule permitting, we’ll attend a theatre production of a work by Kwame Kwei Armah or one of the other rising Black playwrights. We will visit such living spaces as Brick Lane, the Brixton Market, Windrush Plaza (commemorating the first ocean liner to arrive with Caribbean immigrants), and cultural spaces as the Brixton Cultural Center.

Requirements & Grading: Participation in discussion sections: 20%; Oral Research Presentation (author, history, locale): 10%; Quizzes on Reading (best 5 of 6 taken for grade): 10%; Four “homework” assignments, reviews of on-site events: 20%; Short paper on Caliban section (2-3 pages): 10%; Final paper (5-7 pages): 30%.

E 379R • Lit And Culture Of The 1960s

35540 • Spring 2012
Meets MWF 200pm-300pm PAR 204
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Instructor:  Doherty, B            Areas:  VI / I

Unique #:  35540            Flags:  Writing; Independent Inquiry

Semester:  Spring 2012            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Only one of the following may be counted: 679HA (Topic: Literature and Culture of the Sixties), 379N (Topic: Literature and Culture of the 1960s), 379R (Topic: Literature and Culture of the 1960s), 379S (embedded topic: Literature and Culture of the 1960s).

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: The 60s continues to fascinate: as myth, as reality, as a kind or origin of so much of what has survived today. Our attempt at a productive engagement with the decade will include several forays of independent study and several texts we will read in common. Independent work will be done by students in the print culture of the day—from the glossy photojournalism of Life Magazine to the counterculture literary journalism of Ramparts and The Evergreen Review to the mimeograph produced underground press. Students will also choose a recently published book on the 60s—choosing between memoir, reassessments, or focused histories.

Some authors we will read in common are Donald Barthelme, Bob Dylan, Joan Didion, Amiri Baraka, and Thomas Pynchon. We will take a little time to study some texts by 60s gurus like Timothy Leary, Richard Alpert, and Carlos Casteneda.

It is hoped that by the end of the semester students will have a greater understanding of this turbulent, charged period in American culture, and many more questions about the decade than they had at the beginning of the course.

Texts: Donald Barthelme, Sixty Stories; Thomas Pynchon, The Crying of Lot 49; Resources in the Perry Casteneda Library; Course Reader.

Requirements & Grading: Report on assigned book, read independently (3-4 pages), 10%; Report on a significant album of 60s music (15-minute presentation and 3-4 pages written), 20%; Report on an underground newspaper (2-3 pages), 10%; Two or three short assignments (2-3 pages each), 10%; Participation in class discussion, 10%; Periodic quizzes on reading material, 10%; Final paper/project, 30%.

E 349S • Alice Munro

35320 • Fall 2011
Meets TTH 200pm-330pm PAR 308
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Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course centers around the work of Canadian writer Alice Munro, one of the most accomplished and influential living authors. She is often compared to Anton Chekhov, James Joyce, and William Trevor, and her short stories are incisive probes into the deepest and darkest areas of human psychology and behavior

Reading for the course will consist of stories Munro has written over the last forty years; we will explore the nuances of her character development and the elements she uses to craft such powerful tales. Students will be challenged to bring a depth of perception to their analysis of this sophisticated work. Some secondary reading in Munro biography and criticism will be required, as well as an occasional story from comparable great writers, or writers who confess a debt to Munro’s influence. There will be at least one film text—Away from Her, directed by Sarah Polley from a Munro story.

Readers will find in Munro’s work great wisdom, astonishing craft, and an unspeakable ability to amaze. 

Texts: Munro, Alice. Carried Away: A Selection of Stories. (2006), The View From Castle Rock. (2006); Course Reader: A Supplementary Selection of Stories from Munro and others, with some secondary texts.

Requirements & Grading: Participation in Class Discussion, 15%; Quizzes on assigned reading (best 5 of 7 taken for grade), 10%; Analysis and evaluation of secondary text (2 pages), 15%; One Short Paper (3-4 pages) on a single story, 20%; Prospectus of the semester paper (2-3 pages), 10%; Semester Paper (7-9 pages), a sustained analysis of a formal and/or thematic element in Munro’s work, 30%.

E F348 • 20th-Century Short Story

83580 • Summer 2011
Meets MTWTHF 1000am-1130am PAR 204
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Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

 

Description: We will use our anthology to get a background on influential writers and their short stories

 

The reading will be organized into sections: Realism, Modernism, Postmodernism, etc. Then into geographical sections—focus on India, on Africa, on East Asia, etc.

 

The Course Packet will contain stories by authors in the anthologies, so that we can take an extended view of several of our writers and see the diversity of concerns in their texts.  There will also be some texts in the packet that bring our reading into the 21st century.

 

Texts: Forty Short Stories: A Portable Anthology. Beverly Lawn, editor. Course Packet, available at Jenn’s.

 

Requirement & Grading: Two tests, on author biographies, literary periods, plot points: 20% each; Periodic quizzes on the day’s reading (best 6 of 8 taken for grade): 15%; Participation in class discussion; 10%.  Final Exam: 35%

 

Absence from class severely limits your ability to discuss or listen. Excessive absences (more than 4) will detract from your grade (10 points for each class day missed after 4).

E S316K • Masterworks Of Lit: World

83770 • Summer 2011
Meets MTWTHF 1000am-1130am MEZ 1.306
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Prerequisites: Completion of at least thirty semester hours of coursework, including E 603A, RHE 306, 306Q, or T C 603A, and a passing score on the reading section of the Texas Higher Education Assessment (THEA) test.

 

Description: Please refer to the course schedule for course days, time, and room location: http://registrar.utexas.edu/schedules/.

 

Global Modern Literature—

We will use the Norton Anthology to discuss a wide variety of Twentieth Century Texts from around the globe. There will be three interconnected contexts for our reading: (1) Literary periods and approaches European (Modernism (Kafka, Joyce, Woolf); World Modernism (Lu, Chang); Post-modernism (Beckett and Lispecter), Romanticism (Tagore), Realism (Munro, Lessing), Surrealism (Cesaire); orality (Diop, Peynetsa); (2) Intellectual and cultural movements (Marxism, Psychoanalysis); and literary and testimonial responses to historical events such as Stalin’s Russia (Akhmatova) the concentration camps and the Holocaust (Borowski, Bachman); the modern Middle East (Amichai, Yehoshua),

 

The bulk of the reading will consist of substantial shorter works, from poems to short stories, shorter novels and plays. From the canon of literature to which the students will be exposed, perceptive readers will gain an appreciation of why literature is an essential response to the modern world. It is hoped that the course will be an incitement to a lifetime of sustained literary engagement on a high level.

 

Texts: The Norton Anthology of World Literature, volume F; Supplementary Material Available on Electronic Reserves; Some Film Texts will be required.

 

Requirements & Grading: Discussion Section--Attendance, participation, short assignments: 15%; 2-3-page review of World Culture Film: 10%; Test one (Modernism in Europe and the World): 25%; Essay test, on second set of readings (3-4 pages): 15%; Final exam covers all material since first test: 35%.

E 348 • 20th-Century Short Story

34655 • Fall 2010
Meets TTH 800am-930am PAR 206
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Course Description: I have chosen an anthology for this course that allows us to read some influential writers in context of their literary era, their literary influences, and the influence they had on subsequent writers. The anthology is wide-ranging historically and geographically, providing a great diversity of voices and styles of writing.The reading will be organized into sections: Realism, Modernism, Postmodernism, etc. Then into geographical sections—focus on India, on Africa, on East Asia, etc.The Course Packet will contain stories by authors in the anthologies, so that we can take an extended view of several of our writers and see the diversity of concerns in their texts.

Texts: The Story and its Writer: An Introduction to Short Fiction, Anne Charters, editor; Course Packet, available at Jenn’s.

Grading: One test on author biographies, literary periods, plot points after three and a half weeks: 20%; Two short (2-3-page) papers on individual stories: 20%; Periodic quizzes on the day’s reading (best 5 of 7 taken for grade): 10%; Participation in class discussion analyzing the stories: 10%; Prospectus for sustained analytical paper (2-3 pages): 10%; Final paper (6-8 pages): 30%. This is a discussion-based format (which includes listening). Absence from class severely limits your ability to discuss or listen. Excessive absences (more than 4) will detract from your grade (10 points for each class day missed after 4).

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing. 

E 348 • 20th-Century Short Story

34660 • Fall 2010
Meets TTH 1100am-1230pm PAR 204
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Course Description: I have chosen an anthology for this course that allows us to read some influential writers in context of their literary era, their literary influences, and the influence they had on subsequent writers. The anthology is wide-ranging historically and geographically, providing a great diversity of voices and styles of writing. The reading will be organized into sections: Realism, Modernism, Postmodernism, etc. Then into geographical sections—focus on India, on Africa, on East Asia, etc. The Course Packet will contain stories by authors in the anthologies, so that we can take an extended view of several of our writers and see the diversity of concerns in their texts.

Texts: The Story and its Writer: An Introduction to Short Fiction, Anne Charters, editor; Course Packet, available at Jenn’s.

Grading: One test on author biographies, literary periods, plot points after 3 and a half weeks: 20%; Periodic quizzes on the day’s reading (best 6 of 8 taken for grade): 10%; Two short papers on assigned reading (2-3 pages): 20%
; Participation in class discussion analyzing the stories: 10%; Test #2 (author biographies, cultural notes, plot points): 20%; Test # 3 (author biographies, cultural notes, plot points): 20%. This is a discussion-based format (which includes listening). Absence from class severely limits your ability to discuss or listen. Excessive absences (more than 4) will detract from your grade (10 points for each class day missed after 4).

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing. 

E 360L • Postcol Lit: Diaspora & Exile

34750 • Fall 2010
Meets TTH 200pm-330pm PAR 304
(also listed as AFR 374F, ANS 320 )
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Cross-listed with ANS 320; AFR 374F

Course Description: The creation of a new world map and the transformation of ancient cultures is the indisputable legacy of colonialism. From the middle of the twentieth century to the present, there has been a flow of colonial subjects and postcolonial émigrés into the cultural capitals of Europe and North America, causing a secondary global transformation. The struggles of the new “arrivants,” the transformations of cities and cultures, and the generational battles over retaining customs vs. assimilating and modernizing have been a fertile field for writers, theorists, and filmmakers. In this course we will examine a range of texts that struggle with questions of identity, assimilation, racial hatred, cultural transformation, the romance of the great city (Paris, London, New York), and the appropriation of literary and film forms to address these problems.

Texts: Hurricane Hits England: An Anthology of Writing About Black Britain; Nadeem Aslam. Maps for Lost Lovers; Linton Kwesi Johnson. Mi Revalueshunary Fren; Samuel Selvon. The Lonely Londoners. Course Reader with Essays on Identity, Nationality and Exile. Short Stories about exile in England, France, the United States, and Canada.

Possible Film Texts: Dirty Pretty Things. Stephen Frears, director; La Haine. Mathieu Kassovitz. director; Black Girl. Ousmane Sembene, director.

Grading: Periodic quizzes on Reading. A test on terms, histories, geography, and writer biographies.  Participation in class discussion. A final paper which does an in-depth analysis on a text or a comparative paper on selected texts.

E 316K • Masterworks Of Lit: World

83250 • Summer 2010
Meets MTWTHF 100pm-230pm WEL 1.316
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Course Description: Please refer to the course schedule for course days, time, room location, prerequisites and possible cross-listings: http://registrar.utexas.edu/schedules/. Global Modern Literature-- The course will be segmented to work toward several, related approaches to literature. In the first section we will read texts that are representative of several literary periods since the 17h century: Enlightenment, Romanticism, Realism, Modernism, and Postmodernism, with at least a nod toward the impact of Marxism in literature. (Moliere, Wordsworth, Dostoevsky, Joyce, Woolf, Borges, Murakami, Brecht). A second section of the course will be a cross cultural examination of an issue in world literature—for this summer course I anticipate looking at war and conflict in literature from a variety of cultures and contexts. We will call the remaining class sessions a miscellany, using the opportunity to examine some compelling texts and areas of literary culture in the fashion of the "whirlwind world tour." Expect to visit India, China, Africa, and South America. We continue to invoke the role of history, as well as post-colonialism, globalization, and hybrid identities, along with national and regional cultures.

Texts: The Longman Anthology of World Literature, volumes D, E, F; Supplementary Material Available on Electronic Reserves; Some Film Texts will be required.

Grading Policy:
Impromptu Quizzes on Assigned Readings.  Given the Day of the Reading or
In Friday Review Session.  Best 5 of 7 for grade.                    10%
Test One.  July 26.                                                          25%
Test Two.  August 9.                                                        30%
Test Three, Final Exam.  Monday, August 16, 7-10.                 35%

Prerequisites: Completion of at least thirty semester hours of coursework, including E 603A, RHE 306, 306Q, or T C 603A, and a passing score on the reading section of the Texas Higher Education Assessment (THEA) test.

For more information, please download the full syllabus.

E 316K • Masterworks Of Lit: World

34560-34625 • Spring 2010
Meets MWF 100pm-200pm JES A121A
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E 316K: Masterworks of Literature: World

  Instructor: Brian Doherty   Parlin 326  
          471-8798  
        Office Hours: Tuesday, 12-3  
             
Unique #s:
 
  34560 34585 34600 34615    
  34565 34590 34605 34620    
  34580 34595 34610 34625    

¤ Texts/Readings:

The Longman Anthology of World Literature: Vols. D, E, F.

¤ Grading Policy, Assignments:

Test # 1       20%      
Essay Test (take home)     25%      
Final Exam       35%      
TA Section Participation     15%      
Live World Literary Culture Review   5%      

Extra Credit.  In the course of the semester, there will be 7 quizzes given on the reading for the day.  Four of these will be posted the day before the reading, and will have to be turned in on the day of the class (these will be collected before 1:03 on the day of that reading—no late submissions accepted).  Three will be given on an impromptu basis—either in lecture or in TA section.

     Over 45 points total= 3 points added to cumulative grade.

     

     40-44.5 points total = 2 points added to cumulative grade.

     

     35-39.5 points total = 1 point added to cumulative grade total.

     

     Less than 35 points= good practice for future tests.

     

Plus and minus grades will be used in the class.  A = 93-100; A- = 90-92.9; B + = 88-89.9; B = 83=87.9; B- = 80-82.9; C+ = 78-79.9; C = 73-77.9; C- = 70-72.9; D = 65-69.9.  Below 65 = F.

Attendance is required in discussion sections.  Students may miss up to 3 sessions with no grade penalty.  For each class missed beyond 3, there will be a 30 point deduction from your grade for the discussion section.

Please be aware of University policies and services for students with disabilities: http://www.utexas.edu/diversity/ddce/ssd/

Please be aware of the University Standard for Academic Integrity: http://deanofstudents.utexas.edu/sjs/acint_student.php

For more information, please download the full syllabus.

E 360L • Postcol Lit: Diaspora & Exile

35150 • Fall 2009
Meets MWF 100pm-200pm PAR 105
(also listed as AFR 374F, ANS 320 )
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TBD

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