1. Intercultural Communication by Houman Sadri and Madelyn Flammia
  2. The Rhetorical Nature of XML by J.D. Applen and Rudy McDaniel
  3. Elegant Punk by Darlin Neal
  4. The Historicism of Charles Brockden Brown by Mark L. Kamrath
  5. Problem Novels by Anna Maria Jones
  6. The Year of Disappearances by Susan Hubbard
  7. Lizard Man by David James Poissant
  8. Getaway Girl by Terry Thaxton
  9. People Get Ready by Kevin Meehan
  10. The Society of S by Susan Hubbard
  11. Getaway Girl by Terry Thaxton
  12. Drawing on the Victorians, edited by Anna Maria Jones
  13. Crossing The Creek by Anna Lillios
  14. The Terrible Wife by Terry Thaxton
  15. Innocence, Heterosexuality, and the Queerness of Children’s Literature by Tison Pugh
  16. The Heaven of Animals by James Poissant
  17. As If, poems by Russ Kesler
  18. The Zero Theorem by Pat Rushin
  19. Everyday Chica by Cecilia Rodríguez Milanés
  20. According to the Gospel of Haunted Women
  21. Writing for the Web: Composing, •Coding, and Constructing Web Sites
  22. Virtual Teams in Higher Education by Flammia
  23. The Flight of the Kuaka by Donald Stap
  24. Mud Song by Terry Thaxton
  25. Transversal Ecocritical Praxis by Patrick D. Murphy
  26. Rattlesnakes and the Moon by Darlin Neal
  27. The Season of Risks by Susan Hubbard
  28. Marielitos, Balseros and Other Exiles by Cecilia Rodríguez Milanés
  29. Collecte Writings of Charles Brockden Brown edited by Mark L. Kamrath
  30. Oye What I'm Gonna Tell You by Milanés
  31. Ecocritical Explorations in Literary and Cultural Studies by Patrick D. Murphy
Carmen Faye Mathes

Carmen Faye Mathes, Ph.D.

Carmen Faye Mathes has published essays and book reviews in European Romantic Review, Romantic Circles Praxis, Studies in Romanticism and Modern Philology. She is the author of “‘Let us not therefore go hurrying about’: Towards an Aesthetics of Passivity in Keats’s Poetics,” which won the Outstanding Student Essay Award at the North American Society for the Study of Romanticism’s 2013 annual conference. She is currently at work on a book about British Romanticism, which explores modernity as a condition of perpetual ethical concession.

Education

  • Ph.D. in English Literature from University of British Columbia, Vancouver (2015)
  • M.A. in English Literature from University of Toronto (2009)
  • B.A. in English Literature from University of Calgary (2007)

Research Interests

Romanticism, long eighteenth century, long nineteenth century, poetry and poetics, aesthetics, ethics, affect theory and the history of feeling, global Romanticism

Courses

Course Number Course Title Mode Date and Time Syllabus
20027 ENL3451 Topics in British Literature Web Web Not Online

Wild Romanticism: North America in the British Romantic Imagination, 1757 – 1818

In her Memoirs, the eighteenth-century poet, essayist and actress Mary Robinson recounts an event that was as formative as it was ruinous: “A scheme was suggested to my father, as wild and romantic as it was perilous to hazard, which was no less than that of establishing a whale fishery on the coast of Labrador, and of civilising the Esquimaux Indians.”

Such a naïvely self-serving colonial endeavour, while unsurprisingly problematic from our twenty-first century perspective, nevertheless reveals some of the assumptions and cultural attitudes of this historical era. The hierarchy assumed by the desire to “civilize” Labrador’s Indigenous population and exploit Canadian natural resources for British gain fails to recognize the local people as people, or as stewards of their land. Robinson’s characterization of the scheme as “wild and romantic” suggests both her father’s susceptibility to a masculine ideal of adventuring heroism, as well as the aestheticized distance she feels from it: for the Briton who remained at home, such a scheme was “perilous” and therefore, exciting.

Robinson’s account touches on three major topics of this course—exploration, Indigeneity and colonialism—in the context of the British Romantic response to the North American continent. It also suggests our thoroughgoing concern with the status and meaning of the term “wild,” in a variety of contexts. We will ask questions about “wildness” in terms aesthetic (the sublime; the gothic), moral and ethical (the “noble savage”; Anglo-American depictions of Indigenous peoples), and ecological (the wilderness as alternatively threatened or threatening). This course is historicist in nature: it pairs late eighteenth- and early nineteenth-century primary sources such as travelogues, aesthetic treatises, and scientific and ethnographic writings, with literary ones (poems and novels). It does so in order to discover links between first-hand accounts of North America, like those of James Cook and William Bartram, and British interpretations from Romantic writers like Mary Shelley, Charlotte Smith, William Wordsworth, Samuel Taylor Coleridge and John Keats. The aim of our course is to shed new light on these interchanges in order to generate a theory (or theories) of “Wild Romanticism.”

This course’s methodology emerges from the burgeoning field of Romantic-era transatlantic studies, which, in the words of Samantha Harvey, “envisions the Atlantic Ocean not as a negative space that divides nations, but rather as a dynamic arena of cultural interchange.” The learning outcomes for this course are that students will learn to 1) think historically about Romantic literature in order to 2) analyze underrepresented experiences including issues of race, gender, class, sexuality, and ethnicity towards 3) the generation of focused and convincing analytical arguments based on 4) close reading of literary and non-literary texts.

11402 LIT6936 Studies in Lct Theory Face2Face M 7:30PM - 10:15PM Not Online

Sound and the Materiality of Romantic Poetry

Description: According to that rock star of Romantic poetry, Percy Bysshe Shelley, poetry is “connate with the origin of man. Man is an instrument over which a series of external and internal impressions are driven, like the alternations of an ever-changing wind over an Aeolian lyre, which move it by their motion to ever-changing melody.” For Shelley, the specifically human tendency is to turn these impressions poetical: when musical feeling becomes musical thinking, poems are born.

In this course, we will take Shelley’s radical claims and run with them, as we explore Romantic ways of thinking about the materiality of poetry. We will ask questions like, how do we “hear” a poem? What does it mean for a poet to have a “voice”? What is the relationship between poetry and music? Between poetry and sound? What is the “lyric I” and how does it operate? Our exploration will turn on the exemplary oeuvres of four late eighteenth- and early nineteenth-century authors—Charlotte Smith, William Wordsworth, Percy Bysshe Shelley and John Keats. We will have four themes to go with our four authors: “Like the Aeolian Harp: Similes and Being Moved in Smith,” “Listening/not Listening in Wordsworth,” “Noise, Poise and Politics in Shelley” and “Paradox: the Youthful Effusions of Late Style in Keats.” As the course progresses we will read a number of theoretical texts that will help us ask how form might or might not be the thing about poetry that, in the words of Walter Pater, “constantly aspires towards the condition of music.”

The course will require quite a lot of dense and difficult theoretical readings: Adorno, Jean-Luc Nancy, Nietzsche, Derrida, Barthes, etc. It will also require you to give a presentation in class! Students who will find this course compelling will have an interest in poetry and poetics, literary theory, and history.


Required Books:

Charlotte Smith: Major Poetic Works (Broadview)

Wordsworth: The Major Works (Oxford UP)

Percy Bysshe Shelley’s Poetry and Prose (Norton)

John Keats: The Major Works (Oxford UP)

Edward Siad’s On Late Style: Music and Literature Against the Grain (Vintage, 2007)

Jean-Luc Nancy, Listening (Fordham, 2007)

Course Number Course Title Mode Date and Time Syllabus
80111 ENG3014 Theories and Tech of Lit Study Rdce Time M,W 12:30PM - 1:20PM Available

How Should A Person Read?

This is a course for English majors about how and why literary scholars read the way they do. By “read” I actually mean a whole host of other verbs, such as interpret, examine, investigate, historicize, challenge, deconstruct… For students of English literature, to read is to treat a text or group of texts as evidence, and literary theories and techniques as methods for interpreting that evidence.

Literary theories and techniques are historically specific. They tell us about the philosophical and intellectual preoccupations, cultural assumptions, biases and belief systems of people from different places, different backgrounds and different time periods. For this reason, this course is a historical survey first, and an experiment in applying literary theories and techniques second. Beginning with Plato and ending with twenty-first century feminists, queer theorists, critical race theorists and cognitive linguists, we’ve got a lot of ground to cover. You’ll be reading a lot, and writing about what you are reading in a variety of assignments and exercises. By the end of the course, you will feel confident situating literary theory and criticism in history and culture, applying literary theoretical frameworks to primary sources, as well as name-dropping “Roland Barthes” at dinner parties.

It's worth noting that this is not an easy course. The theoretical readings tend to be dense and difficult, and my expectations for your work as a "junior scholar" are high. The whole term we will work towards writing theoretically sophisticated scholarly research essays.

91282 ENL3231 Restoration Literature Web Web Available

This course explores poetry, prose and drama from the Restoration period (1660-1700) in Britain. It is a survey course, which follows our textbook (Oxford UP's Restoration Literature: An Anthology) in designating five thematic sections to explore: "Politics and Nation," "Town and Country," "Literature and the Theatre," "Love and Friendship," and "Religion and Philosophy."

The learning outcomes for this course are 1) to introduce students to major Restoration thinkers, including John Milton, John Wilmot (the Earl of Rochester) and Aphra Behn, 2) and to think historically about Restoration literature in order to generate focused and convincing analytical arguments based on close reading of literary and non-literary texts.

No courses found for Summer 2018.

Course Number Course Title Mode Date and Time Syllabus
19408 ENG3014 Theories and Tech of Lit Study Face2Face Tu,Th 10:30AM - 11:45AM Available

ENG 3014.0004: Theories and Techniques of Literary Study (Mathes)

Spring 2018

How Should A Person Read?

This is a course for English majors about how and why literary scholars read the way they do. By “read” I actually mean a whole host of other verbs, such as interpret, examine, investigate, historicize, challenge, deconstruct… To read (for students of English literature) is to treat a text or group of texts as evidence, and literary theories and techniques as methods for interpreting that evidence.

Literary theories and techniques are historically specific. They tell us about the philosophical and intellectual preoccupations, cultural assumptions, biases and belief systems of people from different places, different backgrounds and different time periods. For this reason, this course is a historical survey first, and an experiment in applying literary theories and techniques second. Beginning with Plato and ending with twenty-first century feminists, queer theorists, critical race theorists and cognitive linguists, we’ve got a lot of ground to cover. You’ll be reading a lot, and writing about what you are reading in a variety of assignments and exercises. By the end of the course, you will feel confident situating literary theory and criticism in history and culture, applying literary theoretical frameworks to primary sources, as well as name-dropping “Roland Barthes” at dinner parties.

It's worth noting that this is not an easy course. The theoretical readings tend to be dense and difficult, and my expectations for your work as a "junior scholar" are high. The whole term we will work towards writing theoretically sophisticated scholarly research essays. There is no final exam in this course, but there is a midterm about 3/4 of the way through.

20431 ENL3451 Topics in British Literature Web Web Not Online

ENL 3451.0W61: Topics in British Literature(Mathes)

Wild Romanticism: North America in the British Romantic Imagination, 1757 – 1818

Spring 2018

In her Memoirs, the eighteenth-century poet, essayist and actress Mary Robinson recounts an event that was as formative as it was ruinous: “A scheme was suggested to my father, as wild and romantic as it was perilous to hazard, which was no less than that of establishing a whale fishery on the coast of Labrador, and of civilising the Esquimaux Indians.”

Such a naïvely self-serving colonial endeavour, while unsurprisingly problematic from our twenty-first century perspective, nevertheless reveals some of the assumptions and cultural attitudes of this historical era. The hierarchy assumed by the desire to “civilize” Labrador’s Indigenous population and exploit Canadian natural resources for British gain fails to recognize the local people as people, or as stewards of their land. Robinson’s characterization of the scheme as “wild and romantic” suggests both her father’s susceptibility to a masculine ideal of adventuring heroism, as well as the aestheticized distance she feels from it: for the Briton who remained at home, such a scheme was “perilous” and therefore, exciting.

Robinson’s account touches on three major topics of this course—exploration, Indigeneity and colonialism—in the context of the British Romantic response to the North American continent. It also suggests our thoroughgoing concern with the status and meaning of the term “wild,” in a variety of contexts. We will ask questions about “wildness” in terms aesthetic (the sublime; the gothic), moral and ethical (the “noble savage”; Anglo-American depictions of Indigenous peoples), and ecological (the wilderness as alternatively threatened or threatening). This course is historicist in nature: it pairs late eighteenth- and early nineteenth-century primary sources such as travelogues, aesthetic treatises, and scientific and ethnographic writings, with literary ones (poems and novels). It does so in order to discover links between first-hand accounts of North America, like those of James Cook and William Bartram, and British interpretations from Romantic writers like Mary Shelley, Charlotte Smith, William Wordsworth, Samuel Taylor Coleridge and John Keats. The aim of our course is to shed new light on these interchanges in order to generate a theory (or theories) of “Wild Romanticism.”

This course’s methodology emerges from the burgeoning field of Romantic-era transatlantic studies, which, in the words of Samantha Harvey, “envisions the Atlantic Ocean not as a negative space that divides nations, but rather as a dynamic arena of cultural interchange.” The learning outcomes for this course are that students will learn to 1) think historically about Romantic literature in order to 2) analyze underrepresented experiences including issues of race, gender, class, sexuality, and ethnicity towards 3) the generation of focused and convincing analytical arguments based on 4) close reading of literary and non-literary texts.

Course Number Course Title Mode Date and Time Syllabus
80111 ENG3014 Theories and Tech of Lit Study Face2Face Tu,Th 3:00PM - 4:15PM Not Online
No Description Available
91277 ENG3014 Theories and Tech of Lit Study Face2Face Tu,Th 4:30PM - 5:45PM Not Online
No Description Available

Updated: Sep 24, 2018

Department of English • College of Arts & Humanities at the University of Central Florida
Phone: 407-823-5596 • Fax: 407-823-3300 • English@ucf.edu