Southeastern
Louisiana University
Graduate Handbook
TABLE OF CONTENTS
I.
Contact Information
II.
General Information
III.
Graduate Assistantships and Fellowships
IV.
Checklist for all Graduate Students
V.
Completing Graduate Coursework
VI.
Requirements for a MA in English
VII.
Concentrations
Chart A: Example of Literature Course Classification
VIII.
Graduate Degree Plans
IX.
Thesis Information
\X.
Completing a Master of Arts Thesis in English
Chart B: Steps for the M.A. Thesis in English
XI.
Graduate Faculty in English
XII.
Office of Research and Graduate Studies Thesis Standards
XIII.
Comprehensive Exam (Comps)
XIV. Applying for Graduation
2
GRADUATE STUDIES IN ENGLISH AT SOUTHEASTERN
I. CONTACT INFORMATION
Graduate Programs
Graduate Programs – Records & Registration
Main Building, North Campus
Room 112B
SLU 7042
Phone: (985) 549-2103
Fax: (985) 549-3605
Email: gradstudies@selu.edu
Graduate Studies in English
Dr. Ziba Rashidian, Coordinator, Graduate Studies in English
D Vickers 330
Phone: (985) 549-5780
Fax: (985) 549-5021
Email: ziba@selu.edu
Shalon DePriest, Graduate Assistant, Graduate Studies in English
D Vickers 329
Phone: (985) 549-5780
Email: shalon.depriest@selu.edu
Dr. Jack Bedell, Coordinator, Creative Writing
D Vickers 341
Phone: (985) 549-5756
Email: jbedell@selu.edu
Dr. Paul Sawyer, Coordinator, Technical and Professional Writing
D Vickers 361
Phone: (985) 549-5759
Fax: (985) 549-5021
Email: psawyer@selu.edu
Dr. Jeff Wiemelt, Coordinator, Language and Literacy
D Vickers 393
Phone: (985) 549-5761
Email: jwiemelt@selu.edo
Department of English
Dr. David C. Hanson, Department Head
222 D Vickers Hall
SLU 10861, Hammond, LA 70402
Phone: (985) 549 2100 Fax: (985) 549-5021
3
II. INFORMATION AND ADVISING ON THE WEB
For information about the Graduate Program in English on Southeastern’s Website, including:
admission requirements, application process, general regulations, academic advising, current
course offerings, course descriptions, degree requirements, concentrations and thesis information:
Go to Southeastern Homepage. Then, click on the following links:
 Academics
 Academic Department
 English
 Graduate Program
For information on the Graduate academic calendar and deadlines, forms, Graduate Studies thesis
regulations, and for information about the graduation application process:
Go to Southeastern Homepage. Then, click on the following links:
 Academics
 Graduate Programs
For Online Advising:
Go to Southeastern Homepage. Then, click on the following:
 LEONet (Enter w # and password)
 For Students
 Self Service > Online Advising > Select correct semester
 Select a course from the lists, in each box, until you reach the number of
hours you would like to take
 Submit (An online list of courses may be submitted only once per semester.
In the event an error occurs, contact your advisor)
 Wait 24-72 hours, and then check for the advisor’s response.
If you see “Approval” on the advising form, the advising hold was automatically removed
when you opened the system to read your advisor’s response.
If you see “Disapproved” on the advising form, you will have directions on how to proceed in
the advisor comment section.
If you have any questions, contact your advisor or email the Graduate Coordinator at
zrashidian@selu.edu
To withdraw from classes:
Contact the Graduate Coordinator for permission to drop
Go to Southeastern Homepage. Then, click on the following:
 LEONet
 Self Service
 Enrollment > Drop Classes
To obtain transcripts or answer questions about transcripts, contact:
Office of Records & Registration
North Campus (main building) Room 107
Phone: (985) 549 2066
Email: records@selu.edu
4
III. GRADUATE ASSISTANTSHIPS AND FELLOWSHIPS
Graduate Assistantships: A limited number of assistantships are available in the Department of
English; students enrolled in the MA in English may also seek assistantships in other
departments. Assistantships are awarded at the discretion of the individual department heads.
For information about assistantship opportunities, check job postings regularly at Southeastern’s
Human Resources website (jobs.selu.edu). All students interested in applying must submit an
electronic application to Human Resources, directing the application to the specific position for
which they wish to apply.
Graduate Fellowships: The Graduate Studies Program at Southeastern recognizes a few
outstanding new graduate students with the Distinguished Graduate Fellowship. Students are
eligible for this fellowship only when they enter their graduate programs at Southeastern for the
first time.
Teaching Fellowships: Each semester one or two graduate students in English are appointed to
the Mentor-Apprentice program. Each student spends the first semester as a teaching assistant in
Freshman Composition with a faculty member appointed as that student’s mentor. In the
following semester, the student is appointed as a teaching fellow, and teaches at least one section
of Freshman Composition as the instructor of record, under the supervision of the mentor.
For further information about application procedures, stipends, and submission deadlines:
Go to Southeastern Homepage. Then, click on the following:
 Academics > Academic Department > English
 Graduate Program
 Assistantships and Fellowships
IV. CHECKLIST FOR ALL GRADUATE STUDENTS
All students must:











Submit completed application, transcripts, fee payments, test scores, and any other
required documentation, such as valid teaching certificate, TOEFL scores, etc., prior to
published deadlines.
Take the GRE prior to admission or during the first semester of graduate work.
Achieve Regular Admission status before the second semester of graduate work
Demonstrate knowledge of a foreign language either though 6 hours of undergraduate
coursework in one language or through passing the Princeton examination
Meet with graduate coordinator or graduate faculty advisor for advising, degree plan,
choice of concentration or individual curriculum, and course scheduling
Complete 36 hours of English at the graduate level, including 18 hours (non-thesis) or 15
hours (with thesis) of 600- level coursework, and including 9 hours of coursework at the
500- or 600-level in three broad literary periods (see Chart A).
Be admitted to candidacy for the degree.
Pass all parts of the comprehensive examination.
Complete all requirements for thesis if student is completing a concentration or chooses
the thesis option without a concentration.
Apply for graduation within posted deadlines.
Settle all financial accounts with the University.
5
V. COMPLETING GRADUATE COURSEWORK
Full Time Status: Fall/Spring semesters: 9 hours; 6 hours for Graduate Assistants/Fellows
Summer semester: 3 hours
Maximum graduate course load: 12 hours Spring/Fall semester
9 hours Summer semester
No more than 6 hours of “C” grades may be counted toward a degree.
No grades of “D” or “F” may be counted toward a degree.
A grade of “Incomplete” may be given for a course which, because of circumstances beyond the
student’s control, cannot be completed during the semester in which the course is taken. An “I”
grade must be removed from a student’s transcript by the end of the next semester,
including summers, unless extended by the Dean of Arts, Humanities and Social Sciences. If
the “I” grade is not removed ,it will automatically be changed to an “F”.
If term or cumulative GPA in graduate courses falls below 3.0 graduate students shall be
placed on probation.
VI. REQUIREMENTS FOR A MA IN ENGLISH
The M.A. in English consists of a core of literary studies with choices in professional
development in all areas of English Studies, including concentrations in Creative Writing,
Language and Literacy, and Professional Writing. Students may choose between Thesis
and Non-Thesis options.
Non-Thesis Option
36 hours of English
Maximum of 6 Graduate hours (in a related field)
1 Advanced Writing Course: ENGL: 447/518, 448/548, 467/567
1 Theory & Methods Course: ENGL: 475/575, 477/577, 485/585
At least 18 hours of coursework at 600 level
Thesis Option
36 hours of English
1 Advanced Writing Course: ENGL: 447/518, 448/548, 467/567
1 Theory & Methods Course: ENGL: 475/575, 477/577, 485/585
ENGL: 770 (6 hours) Thesis
At least 15 hours of coursework at the 600 level
VII. CONCENTRATIONS
Three concentrations are offered:
CONCENTRATION IN CREATIVE WRITING
6
ENGL: 475/575
Introduction to Contemporary Criticism
ENGL: 482/582
Intermediate Poetry Workshop
ENGL: 483/583
Intermediate Fiction Workshop
ENGL: 645 Creative Writing
ENGL: 770 (6 hours) Thesis in Creative Writing
A minimum of 15 hours at the 600 level
Required Thesis: Creative Writing Concentration
Graduate students concentrating in Creative Writing are required to write a thesis. The
Creative Writing thesis can consist of works of prose, poetry, or drama. Students must
meet all the requirements for the Creative Writing concentration, find an appropriate
faculty member to serve as Thesis Director, and obtain approval to begin a creative thesis
from the Coordinator of Creative Writing. Full details for this concentration are available
from the Southeastern Creative Writing website or from Dr. Jack Bedell at
jbedell@selu.edu.
CONCENTRATION IN LANGUAGE AND LITERACY
The requirements for a Concentration in Language and Literacy may include completion
of a Language and Literacy thesis and participation in an approved Language and
Literacy apprenticeship. Students must be willing to accept the responsibilities inherent to
seeking, participating in, and completing such a program. Full details for this
concentration are available from the Southeastern Language and Literacy website or from
Dr. Jeff Wiemelt at jwiemelt@selu.edu.
Concentration with Thesis:
ENGL 577 Foundations in Language and Literacy
ENGL 595 Internship
One course from the following: ENGL 620, ENGL 621, or ENGL646
One course from the following: ENGL 564, ENGL 567, or ENGL 576
Engl 770 (6 hours) Thesis Research and Thesis
A minimum of 15 hours at the 600 level
Concentration without Thesis:
ENGL 577 Foundations in Language and Literacy
ENGL 595 Internship
One course from the following: ENGL 518, ENGL 620, or ENGL 646
One course from the following: ENGL 620, ENGL 621, OR ENGL 646
Two courses from the following: ENGL 508, ENGL 524, ENGL 564,
ENGL 567, or ENGL 576
A minimum of 18 hours at the 600 level
CONCENTRATION IN PROFESSIONAL WRITING
7
The requirements for a Concentration in Professional Writing may include completion of
a Professional Writing thesis and participation in an approved Professional Writing
internship. Students must be willing to accept the responsibilities inherent to seeking,
participating in, and completing such a program. Full details for this concentration are
available from the Southeastern Professional Writing website or from Dr. Paul Sawyer at
psawyer@selu.edu.
Students choosing this concentration must complete the thesis or the additional
coursework specified below.
With Thesis:
ENGL 585 Foundations in Professional Writing
ENGL 548 Advanced Technical and Professional Writing
ENGL 595 Internship
ENGL 651 Studies in Professional Writing
Electives (3 hrs) as approved by the concentration coordinator
ENGL 770 (6 hrs) Thesis Research and Thesis
A minimum of 15 hours at the 600 level
Without Thesis:
ENGL 585 Foundations in Professional Writing
ENGL 548 Advanced Technical and Professional Writing
ENGL 594 Publishing in Digital Humanities
ENGL 595 Internship
ENGL 651 Studies in Professional Writing
Electives (6 hrs) as approved by the concentration coordinator
A minimum of 18 hours at the 600 level
OPTIONAL THESIS: RESEARCH
All graduate students in English (except those completing a concentration in Creative
Writing) may elect to do a Research thesis. Major areas for research work include
Literary studies, Language and Literacy studies, and Rhetoric and Composition. The
requirements for the thesis option are 36 credit hours (including 30 hours of graduate
English courses and 6 hours of thesis credit). All other requirements for the MA in
English are the same as for students not choosing to do a thesis.
CHART A: Examples of Literature Course Classification
Group A: Ancient, Medieval, and Early Modern Literatures
ENGL 522 CHAUCER
ENGL 523 MILTON
ENGL 535 SHAKESPEARE: Comedies and Romances
ENGL 536 SHAKESPEARE : Tragedies and Histories
ENGL 555 OLD ENGLISH
8
ENGL 556 MEDIEVAL ENGLAND
ENGL 557 EARLY MODERN NON-DRAMATIC LITERATURE
ENGL 600 STUDIES MEDIEVAL LITERATURE
ENGL 601 STUDIES IN EARLY MODERN LITERATURE
Group B: 18th and 19th Century Literatures
ENGL 530 RESTORATION & 18TH C LITERATURE
ENGL 559 19th C. BRITISH LITERATURE
ENGL 590 19th C. AMERICAN LITERATURE
Group C: Twentieth-Century and Contemporary Literatures
ENGL 526 ADOLESCENT EXPERIENCE IN LITERATURE
ENGL 528 AFRICAN-AMERICAN LITERATURE SINCE 1900
ENGL 539 LOUISIANA LITERATURE
ENGL 588 MODERNISM
ENGL 589 POSTMODERN AND CONTEMPORARY LITERATURE
ENGL 610 STUDIES IN PERFORMANCE
Variable-Content Literature Courses: Check specific titles and content each semester
ENGL 527 GENDER STUDIES AND LITERATURE
ENGL 537 MAJOR PERIODS IN DRAMA
ENGL 538 INTERDISCIPLINARY APPROACHES TO LITERATURE
ENGL 558 MAJOR BRITISH AUTHORS
ENGL 587 MAJOR WORLD AUTHORS
ENGL 591 MAJOR AMERICAN AUTHORS
ENGL 606 STUDIES IN BRITISH LITERATURE
ENGL 617 STUDIES IN WORLD LITERATURE
ENGL 630 STUDIES IN AMERICAN LITERATURE
VIII. GRADUATE DEGREE PLANS
The English Graduate Coordinator or graduate Faculty Advisor will determine the
graduate degree plan for each English graduate student. The degree plan must be signed
by the student upon completion of 9 hours of graduate credit. The degree plan will be
kept on file in the office of English Graduate Studies. The following is a sample of a
degree plan for Creative Writing.
SOUTHEASTERN LOUISIANA UNIVERSITY
GRADUATE DEGREE PLAN
NAME
DEGREE: MA ENGLISH
HOURS REQUIRED FOR DEGREE:
Southeastern ID #:
CONCENTRATION:
CREATIVE WRITING
36
GRADUATE OFFICE
USE ONLY
9
COURSE PREFIX & NUMBER
COURSE TITLE
ENGL 475/575
INTRO TO CONTEMP CRIT
ENGL 582
INTERMEDIATE POETRY WORKSHOP
ENGL 583
INTERMEDIATE FICTION WORKSHOP
ENGL 645
CREATIVE WRITING
ENGL 518 OR ENGL 567
ADVANCED WRITING COURSE
SEMESTER
GRADE
ENGL 6XX
ENGL 6XX
ENGL 6XX
ENGL 6XX
ENGL 5XX/6XX
ENGL 770
THESIS AND RESEARCH
(For continuation please use second page.)
Thesis Master’s or Doctorate Signatures:
Major Professor
Date
Committee Member
Date
Committee Member
Date
Committee Member
Date
Committee Member
Date
Committee Member
Date
Date
Graduate Coordinator
Date
Student
IX. THESIS INFORMATION
General Statement
A master’s thesis should demonstrate the student’s ability to conduct independent research and to
present the results of that research in a scholarly format. It should provide a significant
contribution to knowledge in the discipline and reflect independent research of high quality.
Defense
All students shall defend their theses in an oral examination held before the Thesis Committee
and other persons invited by the committee.
Thesis Committee
The Thesis Committee consisting of at least three members shall supervise the research for and
writing of the thesis. This committee shall be approved by the Graduate Coordinator or graduate
Faculty Advisor.
Final Approval
The Thesis Committee shall approve or reject the thesis. Students must make all corrections and
changes in the thesis recommended by the committee prior to final approval.
10
Continuous Registration
The student must register for English 770 for each semester the thesis is in progress and for each
semester or term in which the student receives faculty assistance and/or uses University facilities
and resources.
Grades
At the end of each semester in which a thesis is in progress, a grade of “IP” (In Progress) shall be
assigned to the student. After final approval of the thesis by the Thesis Committee and by the
appropriate authorities, and after the Thesis Committee certifies that the student has passed the
defense, and after all copies of the thesis have been approved by the Graduate School office, a
final grade of “P,” carrying a maximum credit of 6 semester hours, shall be given.
Binding
Students must pay the University fee for thesis binding for the minimum number of copies
required by their department. Valid receipts for these copies and for any additional copies the
student wishes to have bound (maximum of eleven) shall be presented at the time the final copy
of the thesis is submitted to the Thesis Committee for approval. After obtaining the appropriate
signatures, the student will submit the required number of copies of the thesis, together with the
receipts for binding, to the library for binding.
Two copies of the thesis, for the Library’s use, shall be printed on 20-pound weight paper of 25
percent cotton fiber content. All other copies shall be printed according to departmental
regulations. When the final bound copies of the thesis are returned to the Library, the English
Graduate School Office shall pick them up and distribute them to the appropriate offices.
Leave of Absence from Thesis
In certain circumstances, such as illness, pregnancy, or compelling economic pressures, a student
may not be able to enroll in a thesis course on a continuous basis. The University will allow
leaves of absence on an individual, non-discriminatory basis, provided the student receives
written permission from the appropriate Graduate Coordinator or graduate Faculty Advisor and
the Graduate Dean. The leave of absence policy does not affect in any manner the six year time
limit for completion of the degree.
X. COMPLETING A MASTER OF ARTS THESIS IN ENGLISH
Once a student reaches the point of choosing a Thesis Director, s/he should consult the
professor directly to see that the professor isn’t overloaded and that the professor wants to
work with the student and work in consultation with the thesis director to establish a
thesis committee.
THESIS PROPOSAL
A Thesis Proposal Approval Form must be submitted to the Coordinator of Graduate
Studies in English containing the signature of the director and the committee members
prior to the student registering for 770. This form will stipulate that the Thesis Director’s
signature on the form serves as his/her (the director’s) verification that an appropriate,
academically sufficient proposal is attached to the form. Forms may be obtained from the
office of English Graduate Studies, DVIC 329. Following is an example of a Thesis
Proposal Approval Form.
THESIS TOPIC APPROVAL FORM
11
Department of:
English
Student’s Name:
__________________________________________________
Student’s W#:
__________________
Date:
__________________
Thesis Topic:
attach Proposal
or Writing Sample
___________________________________________________
___________________________________________________
___________________________________________________
Student’s Signature: ___________________________________________________
Major Professor:
___________________________________________________
Committee Member: ___________________________________________________
Committee Member: ___________________________________________________
Graduate Coordinator: ___________________________________________________
Thesis proposals can take the form of organizing an argument or a draft “Table of
Contents” or a more contextual proposal for creative writing students. With regard to the
latter, creative writing students are required to submit a sufficient writing sample for the
approval of the thesis director (e.g., fiction writers could submit a 2,000 word + short
story, poets could submit 8-10 poems, playwrights could submit a one-act or full-length
play or a substantial monologue). In any case, a proposal substantial enough to indicate
the student has reviewed the literature in his/her field and has an understanding of the
way in which s/he is trying to “enter the conversation” is required by all English graduate
students.
A sample Works Cited and Select Bibliography (i.e., one that is in progress) should be
submitted by the student with the proposal.
Examples of in-house proposals are included for reference below. A sample Select
Bibliography can be found on page 23.
Note: Until a completed proposal has been submitted and approved by the Thesis
Director, students may not register for 770 hours.
12
EXAMPLES OF THESIS PROPOSALS
CREATIVE WRITING PROPOSAL
Aaron Duplantier
Beverly Marshall
Creative Writing Thesis Proposal
Proposal: Alienation, though well-tread territory amongst 20th Century writers, is a new
animal entirely in the 21st Century, both in its similarities and differences to millennial
alienation. The scale of 21st Century human division is massive and multiplied by the
constructs of society, media, technology, consumerism, and whatever other supposed
‘advances’ we’ve made up to this point in our development. This new century brings with
it a slew of peculiarities which invite an artistic reexamination of issues concerning
alienation possibly worn down by modernists and postmodernists. Maybe the same
conclusions will be drawn, maybe not, but the road looks much different now in our
cyberspaced, medicated, and wholly withdrawn world. How does one deal with the
“ineluctable modality of the visible” when the very idea of ‘thing’ has been abstracted to
non-existence, or digital existence (let’s assume the two are synonymous). Lives are
pragmatically programmed and redundant, lived hundreds of times before through the
products of mass media. Blogospheres, scientific codependence, the electronic signifier
has given way to the death of meaning. The end of signification, though, may mark a new
existence where profound truths are made all the more pure. That’s not to say people
have stopped believing in certain irrefutable absolutes – many cling so ardently to their
beliefs that their original meaning, whatever that might have been, is warped and made
13
moot, chucked in the documents folder with all the other meaningless refuse suffocating
our everyday lives, holding us back. In seeking redemption so desperately, they
inevitably fail.
The Problem: Is there redemption for the alienated in the 21st Century?
Proposed Structure: The thesis presented here will consist of 4-5 pieces of short fiction,
give or take, dealing with related issues in regard to alienation and redemption in the 21st
Century. The cluster of stories will be wrapped around brief introduction and conclusion
chapters taking the form of a diatribe where conclusions, however subjective or vague,
will be drawn. The intended structural result will be something along the lines of
shell/nut/shell, or bun/burger/bun, or flesh/guts/flesh. So, yes, let’s look at the insides and
then put the top back on.
Proposed Style: Absurdist realism, all occurring within contemporary America, usually
under the guise of “nowhere is everywhere” – in other words, nothing regional unless it
serves some higher purpose.
LANGUAGE AND LITERACY PROPOSAL
Tracy Valentine
Department of English
Language and Literacy Concentration
Dr. Christine Mitchell
The Roxanne Wars: A Battle of Rap and Gender
14
For my thesis, I will examine the roles that both gender and rhetoric play within the rap
music genre. I will begin by examining the rap battle between Roxanne Shante and the
group Untouchable Force Organization (UTFO) I chose these specific performers not
only because are they well known within the genre, but also because I feel that their
battle was the best representative of a battle between the genders. Roxanne was a female
pioneer in the rap genre, she gave a voice to females who were not recognized in this
particular genre let alone in society. During the era of civil rights, black males fought and
spoke for equal rights as American citizens and though black females fought alongside
the males, but it was their actions, not voices which were prominently featured. For
example, Rosa Parks sparked a movement because of her refusal to give up her seat on a
bus after a hard day’s work but, it was Martin Luther King’s words and speeches that
sparked the civil rights era. Flash-forward to the early eighties and a young rapping
female phenomenon comes onto the scene. Roxanne is speaking up and using her voice,
not her actions to convey a message. No longer was the black female representing the
body, the physical form of a message, she was the main voice. Roxanne became the
resident black female voice for the eighties and she claimed her territory. Roxanne, as the
representative female black voice, will be examined within the confines of the rhetoric
triangle. I will then examine Roxanne’s lyrics using the rhetorical triangle. As the voice
or the representative for young back females during the early hip-hop era her words
served as the wake up call not only to UTFO, but to all males. As a result, she identified
with both genders persuading the hip hop generation to listen to her turning what began
as a battle into a harmonious and equal congregation.
15
Chapter 1: Roxanne Shante vs UTFO
Lolita “Shante” Gooden was asked by music producer Marley Marl to write a rap
response to UTFO’s cancelling a show in their neighborhood. This request set in motion
one of the most famous rap battles in the rap genre. The lyric catalog of the battle
spanned over a hundred “dis” raps, a form that grew from a popular game in the black
community known as, “The Dozens.” Instead of using, “your mama” as the precedent for
the joke, rappers “dissed” or pointed out the negative aspects of each other, The person
who had the “tightest” and “freshest” rap skills, were often the winners of the battle. By
examining the history of “The Dozens,” I will show the impact that it has in the black
community and how it eventually eases its way into the rap genre. I will also speak about
the power of the male voice in comparison to the power of female voice. Through the
history of rhetoric, it has been the male voice that has constantly been identified as
worthy of being heard. The male has been and is still identified with language and
thought (intelligence), whereas the female has been and still is identified by the body
(image) and keeps silent. Roxanne as a rapper attacked the confines of gender concept of
rhetoric and made her voice, the voice of the black female, heard. She usurped the
territory of the male and gave voice to the voiceless female.
Chapter 2: Female Categorization
Author Tricia Rose identifies the categorizations of females in the rap genre
within her book, Black Noise: Rap Music and Black Culture in Contemporary America.
The classifications range from the negative description (bull dagger/lesbian) to the
positive (Queen Mother). Sadly, these personas have become so commonplace that they
16
are recognized as the actual identities of the female rappers. As a result, these women are
acknowledged as the caricatures that they have become because of their identities and not
as conventional, everyday women. I will identify the reasons as to why these labels are
accepted not only by the black community, but also by society in general. As a result of
these findings, I will determine if the tags taint the view of the black female within the
previously stated community and societal context. I will examine how this labeling began
and how, because of the female’s constant identification as the body (image), these
classifications are presented as the norm in the entertainment and sometime public arena.
Some of the categorizations, especially the positive ones do represent black females
wholly. In opposition, the negative labels serve to dehumanize, and take all power away
from the black female.
17
REGISTERING FOR ENGLISH 770 (THESIS HOURS)
To register for 770, students must complete a Thesis Registration Form. The Thesis
Director’s signature on the form verifies that an appropriate, academically sufficient
proposal has been approved by the Coordinator of Graduate Studies in English and the
Thesis Director, and that the student is ready to register for 770. The signature will also
serve as a directive to department staff that a section of 770 be created for the student.
The English department administrative assistant will set up the section of 770 once s/he
has received the signed form. Forms may be obtained from the office of English Graduate
Studies, DVIC 329 or downloaded from the English Graduate Program webpage.
Following is an example of a Thesis Registration Form.
DEPARTMENT OF ENGLISH
THESIS REGISTRATION FORM
This form is for graduate students with prior approval from both Thesis Director and
Graduate Studies Director to enroll in a section of English 770 (Thesis).
Student’s Name: ______________________W#: __________________________
Semester: ___________________________
Thesis number assigned:
English 770
Section: __________
Computer #:__________
Student’s Signature: ________________________ Date: ______________________
Thesis Director: ___________________________ Date: ______________________
CC:
File (2 copies)
Graduate Coordinator
Thesis Director
18
After a student has taken 770 for a semester, in subsequent semesters the student is
responsible for requesting the creation of additional sections 770 and indicating the
number of thesis hours that s/he will be attempting. The hours will not be authorized or
entered into the system until this step has been completed.
Students completing thesis projects should provide regular reports to all committee
members prior to the posting of grades at the end of each semester they are registered for
ENGL 770. Chapters of the thesis project should not be delivered to readers until the
Thesis Director approves such a delivery. Readers must be given a minimum of four
weeks between a student’s delivery of one or more chapters and a defense of that thesis.
All students are required to defend the thesis in some manner at the discretion of the
Thesis Director and, at a minimum, the defense should include the Thesis Director and all
committee members.
Following is an example of a “Certificate of Approval” form:
THE GRADUATE SCHOOL
MASTERS THESIS
CERTIFICATE OF APPROVAL
The undersigned have examined the thesis for:
, candidate for the degree of:
, in
, and
approved the attached report on this date:
.
Major Professor or Chair
Name typed
Faculty rank and discipline
Committee Member
Name typed
Faculty rank and discipline
Committee Member
Name typed
Faculty rank and discipline
Committee Member
Name type
Faculty rank and discipline
___________________________
Dean of Research and Studies
A Jerald Ainsworth
19
The following chart provides the appropriate steps for obtaining an MA in English.
CHART B: STEPS FOR THE MA THESIS IN ENGLISH
Rough
Timeline
1st
year
2nd year
Sequence of Steps (while still completing other required course
work and MA requirements)
1. Complete “foundations” course in concentration
2. Attend graduate student symposia and thesis defenses
3. Preview prior thesis proposals and completed theses
4. Determine a general thesis topic
5. Identify a thesis advisor with knowledge of that topic
6. Meet with thesis advisor for preliminary approval of general
thesis topic and proposal guidelines
7. Student and advisor determine two appropriate thesis readers
8. Two faculty agree to serve as thesis readers
9. Submit thesis proposal to advisor and committee
10. Advisor and committee approve thesis proposal or request
revision and resubmission leading to approval
11. Submit proposal to the Human Subjects review board if
needed
12. Submit approved thesis proposal to Grad Coordinator for
authorization to register for thesis credits
13. Complete Thesis Registration form to register for 770
Ongo
ing
14. Complete data collection and/or text-based research
15. Submit draft sections and chapters to thesis advisor as
warranted for response leading to revision
16. Submit completed chapters to thesis committee per advisor
consent for response leading to additional revision
17. Complete “apprenticeship” and submit related
documentation, if required
18. Submit completed draft of full thesis to advisor for response
leading to revision
19. Submit completed draft of full (revised) thesis to committee
for response leading to additional revision
20. Submit final draft of completed thesis to committee for
approval at least 4 weeks before defense
21. Defend final draft of completed thesis in presentation and
oral defense open to the public at least two weeks before
Graduate School deadline for final submission of theses
22. Make all corrections and changes in the thesis as agreed
upon and recommended by the committee prior to final approval.
23. Submit approved thesis on plain (NOT cotton) paper to
Office of Research and Graduate Studies for review and potential
format revisions before approval by the Dean of Research and
Graduate Studies—include signature page with signatures
24. Submit fully approved thesis electronically to Library in PDF
format with blank signature page, with at least 2 print copies on
20 pound, 25% cotton rag paper for binding, and with receipts
from Controller for payment for binding and digitization
Register for 770 hours each semester until defense
Submit completed chapters and progress documentation to thesis
committee for confirmation of progress
Signatures Required
Thesis advisor and
committee signature
Human Subjects
review board signature
Grad coordinator
signature
Grad coordinator
signature
Thesis committee
signatures
Dean of Research and
Graduate Studies
signature
20
XI. GRADUATE FACULTY IN ENGLISH
*Bedell, Jack
Creative Writing: Poetry
*Blanton, Mackie
African American Literature, Linguistics
*Bouton, Reine
Modern American and British Literature, Travel Writing,
Southern Literature, Composition and Rhetoric, Eudora Welty
Cowart, C. Denelle
!8th Century British Literature, Irish Literature
Dorrill, George
Linguistics
*Faust, Joan
17th Century Non-Dramatic Literature
*Fick, Thomas
American Literature
*Fredell, Joel
Medieval Literature
*Gautreaux, Tim
Creative Writing: Prose Fiction
*German, Norman
American Literature
*Gold, Eva
Renaissance Literature, Women’s Studies
*Hanson, David
19th Century British Literature, Bibliography and Textual Criticism
Kearney, Martin
Modern/British Irish Literature, American Literature
*Landrum, Jason
Film Studies, Critical Theory, Contemporary Literature
*Louth, Richard
Composition, World and Southern Literature
*Marshall, Beverly
Creative Writing
*Mitchell, Christine
Professional Writing, Rhetoric, Composition, ESL
Pelegrin, Alison
Creative Writing: Poetry
Ply, Mary Sue
Restoration and 18th Century British, Vietnam War Literature and Film,
Classical and Modern European Literature in Translation
Rashidian, Ziba
Critical Theory, Post-Colonialism and Comparative Modernism, Poetry
and Poetics
*Sawyer, Paul
Professional and Technical Writing
*Slawson, Jayetta
Drama and Performance Studies
Weimelt, Jeffrey
Composition and Rhetoric, Language and Literacy
Whitton, Natasha
Composition and Rhetoric
*Starred graduate faculty may serve as supervisors for a Master of Arts thesis; all graduate
faculty may serve as readers for a Master of Arts thesis.
21
XII. OFFICE OF RESEARCH AND GRADUATE STUDIES THESIS
STANDARDS
Information about Southeastern Louisiana University thesis standards can be found on
the Office of Research and Graduate Studies website. Go to Southeastern’s Homepage.
Then, click on the following:
 Academic Programs
 Graduate Programs
 Handbook and Publications
or, click on the appropriate link.
Thesis and Dissertation Standards
Thesis and Dissertation Standards Submission Supplement
Steps for Submitting Thesis or Dissertation
Library Binding Form
Both the Graduate School “Binding Form” and the Library “Binding Form” must be
completed.
Copies of graduate thesis can be checked out from Sims Library. A list of English
Graduate Theses begins on page 31.
XIII. COMPREHENSIVE EXAM (COMPS)
The MA exam in English consists of two parts:
Part 1 is a course essay revised for submission, @ 15-20 pages, in a “ready for
publication” state. The student works with the course instructor until the instructor decides the
essay is ready for submission to two readers from the Graduate Advisory Committee. The
readers can pass the essay, ask for minor revisions (to be completed within the remaining
semester) or ask for major revisions (probably completed in a subsequent semester). The deadline
for submission of this essay will be around October 15 in the fall semester, and March 15 in the
spring semester. No submissions will be accepted during the summer semester. Successful
completion of a thesis will also fulfill the requirement for Part 1 of the MA exam.
Part 2 is a 2-hour exam based on a reading list. Those students completing a
concentration in Language and Literacy or Professional Writing will be tested on a reading list
specific to that concentration. All other students will be tested on the Literary Studies list. The
exam will be held on the Monday of the final week of classes in the fall and spring semesters.
Students should complete Part 2 near or at the end of their coursework.
XIV. APPLYING FOR GRADUATION
22
Students shall apply for graduation in the semester proceeding the anticipated semester of
graduation, according to the published deadlines. Students who do not graduate in the anticipated
semester of graduation must reapply for graduation and pay an additional application fee for each
succeeding semester of application.
Students applying for graduation must:



Secure and complete the appropriate forms in the departmental office.
Pay the application fee.
Complete the on-line application procedure, including the exit survey.
XV. LIST OF URLS
Graduate Academic Calendar
http://www.selu.edu/acad_research/programs/grad_school/graduate_studies/assets/GRAD
UATE%20ACADEMIC%20CALENDAR%20%2709-%2710%20V3.pdf
University Graduate School Catalogue
http://www.selu.edu/admin/rec_reg/university_catalogue/current/curriculum/pdf/graduate
_school_pdf.pdf
23
EXAMPLE OF A SELECT BIBLIOGRAPHY
Select Bibliography
Abelove, Henry, Michele Ana Barale, and David M. Halperin. The Lesbian and Gay
Studies Reader. New York: Routledge, 1993.
Addelson, Kathryn Pyne. “‘On Compulsory Heterosexuality and Lesbian Existence’:
Defining the Issues.” Signs 7.1 (1981).
Albee, Edward. The American Dream and The Zoo Story. New York: Signet,
1959.
---. Tiny Alice. New York: Dramatists Play Service, 1998.
---. Who’s Afraid of Virginia Woolf? New York: Signet, 1983.
Allison, Dorothy. Skin: Talking About Sex, Class, and Literature. New York: Firebrand,
1994.
Baglia, Jay. “Performing the ‘Really’ Real: Cultural Criticism and the Representation,
and Commodification in The Laramie Project.” Journal of Dramatic Theory and
Criticism. 19.2 (2005): 127-145.
Barish, Jonas. The Violet Quill Reader: The Emergence of Gay Writing after Stonewall.
New York: St. Martin’s, 1994.
Bibler, Michael. “‘A Tenderness Which was Uncommon’: Homosexuality, Narrative
and the Southern Plantation in Tennessee Williams’ Cat on a Hot Tin Roof.”
Mississippi Quarterly: The Journal of Southern Cultures. 55.3 (2002): 281-400.
Blasius, Mark, and Shane Phelan, ed. We Are Everywhere: A Historical Sourcebook of
Gay and Lesbian Politics. New York: Routledge, 1997.
Boal, Augusto. Games for Actors and Non-Actors. Trans. Adrian Jackson. London:
24
Routledge, 1992.
Bornstein, Kate. Gender Outlaw: On Men, Women, and the Rest of Us. New York:
Vintage, 1995.
Bottoms, Stephen. Playing Underground: A critical History of the 1960s Off-OffBroadway Movement. Michigan: University of Michigan Press, 2004.
Bray, Robert. “Introduction.” Vieux Carre. New York: New Directions, 2000.
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed. and Trans.
John Willett. Hill and Wang: New York, 1991.
Brustein, Robert. “Robert Brustein on Theatre: Angels in America.” New Republic.
24 May 1993, 29.
Bryer, Jackson R., ed. The Playwright’s Art: Conversations with Contemporary
American Dramatists. New Brunswick: Rutgers University Press, 1995.
Butler, Judith. Bodies Matter: On the Discursive Limits of “Sex”. New York: Routledge,
1990.
---. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
1990.
---. “More Gender Trouble: Feminism Meets Queer Theory.” Differences. 6 (1994):
2-8.
---. Undoing Gender. New York: Routledge, 2004.
Cadden, Michael. “Strange Angel: The Pinklisting of Roy Cohn.” Approaching the
Millenium: Essays on Angels in America. Eds. Deborah R. Geis and Steven
Kruger. Ann Arbor: University of Michigan Press, 1997.
Carlsen, James W. “Images of the Gay male in Contemporary Drama.” Gayspeak: Gay
Male and Lesbian Communication. Ed. James W. Chesebro. New York: Pilgrim,
25
1981.
Carr, Cindy. “No Trace of the Bland: An Interview with Holly Hughes.” Theater 24.2
(1993): 67-75.
Case, Sue-Ellen. “The Apparitional Community.” American Quarterly 48.1 (1996):
161-167.
Case, Sue-Ellen. Feminism and Theatre. New York: MacMillan, 1988.
---. “Performing Lesbian in the Space of Technology, Part I.” Theatre Journal 47 (1995):
329-343.
Castle, Terry. The Apparitional Lesbian. New York: Columbia University Press, 1993.
Champagne, Lenora, ed. Out from Under: Texts by Women Performance Artists. New
York: Theatre Communications group, 1990.
Clarke, Patsy and Eloise Vaughn. Keep Singing: Two Mothers, Two Sons, and Their
Fight Against Jesse Helms. Los Angeles: Alyson, 2001.
Cless, Downing. “Alienation and Contradiction in Camino Real: A Convergence of
Williams and Brecht.” Theatre Journal. 35.1 (1983): 41-50.
Clum, John M. Acting Gay: Male Homosexuality in Modern Drama. New York:
Columbia University Press, 1992.
Clum, John M. Staging Gay Lives. Boulder: Westview, 1996.
Creekmur, Corey K. and Alexander Doty, ed. Out in Culture: Gay, Lesbian, and Queer
Essays on Popular Culture. Durham: Duke UP, 1995.
Crespy, David. Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960s
Ignited a New American Theater. New York: Back Stage Books, 2003.
Curb, Rosemary Keefe, ed. Amazon All Stars: 13 Lesbian Plays. New York: Applause,
26
1996.
Curtin, Kaier. “We Can always Call Them Bulgarians”: The Emergence of Lesbians and
Gay Men on the American Stage. Boston: Alyson Publications, 1997.
Davy, Kate. “Constructing the Spectator: Reception, Context and Address in Lesbian
Performance.” Performing Arts Journal 10.2 (1986): 43-52.
---. “Reading Past the Heterosexual Imperative: Dress Suits to Hire.” The Drama Review
33.1 (1989): 153-170.
D’Emilio, John. Making Trouble: Essays on Gay History, Politics, and the University.
New York: Routledge, 1992.
Doan, Laura, ed. The Lesbian Postmodern. New York: Columbia University Press, 1994.
Dolan, Jill. “Building a Theatrical Vernacular: Responsibility, Community, Ambivalence
and Queer Theatre.” Modern Drama 39.1 (1996): 2-15.
---. Presence and Desire: Essays on Gender, Sexuality, and Performance. Ann Arbor:
University of Michigan Press, 1993.
Donkin, Ellen and Susan Clement. Upstaging Big Daddy: Directing Theater as if Gender
and Race Matter. Ann Arbor: University of Michigan Press, 1993.
Dorff, Linda. “‘All very [not!] Pirandello’: Radical Theatrics in the Evolution of Vieux
Carre.” The Tennessee Williams Annual Review. (2000): 1-23.
Dowling, Ellen. “The Derailment of A Streetcar Named Desire.” Literature Film
Quarterly 9.4 (1981): 233-40.
Duberman, Martin, Martha Vicinus, and George Chauncey Jr., ed. Hidden from History:
Reclaiming the Gay and Lesbian Past. New York: Penguin, 1989.
Duberman, Martin. Stonewall. New York: 1993.
27
Duggan, Lisa. “Theory in Practice: The Theory Wars, or Who’s Afraid of Judith Butler?”
Journal of Women’s History 10.1 (1998): 9-19.
Englebrecht, Penelope J. “Bodily Mut(il)ation: Enscribing Lesbian Desire.” Postmodern
Culture 7.2 (1997).
Escoffier, Jeffrey. “Inside the Ivory Closet: The Challenge Facing Gay and Lesbian
Studies.” American Homo: Community and Perversity. Berkeley: University of
California Press, 1998. 104-117.
Fierstein, Harvey. Torch Song Trilogy. New York: New American Library, 1988.
Fleche, Anne. “The Lesbian Rule: Lillian Hellman and the Measures of Realism.”
Modern Drama 39.1 (1996): 16-30.
Friedman, Sharon. “Revisioning the Women’s Part: Paula Vogel’s ‘Desdemona’.” New
Theatre Quarterly 15.2 (1999): 131-41.
Furtado, Ken and Nancy Hellner. Gay and Lesbian American Plays: An Annotated
Bibliography. New Jersey: Scarecrow Press, 1993.
Fuss, Diana, ed. Inside/Out: Lesbian Theories/Gay Theories. New York: Routledge,
1991.
Geis, Deborah R. “Deconstructing (A Streetcar Named)Desire: Gender Re-Citation in
Belle Reprieve.” American Drama 11.2 (2002): 21-31.
Goodman, Lizbeth, and Jane de Gay, ed. The Routledge Reader in Gender and
Performance. London: Routledge, 1998.
Grossman, Elwira M. “Who’s Afraid of Gender and Sexuality? Plays by Women.”
Contemporary Theatre Review 15.1 (2005): 105-116.
Hall, Donald E. Queer Theories. New York: Macmillan, 2003.
28
Hart, Lynda, and Peggy Phelan, ed. Acting Out: Feminist Performances. Lansing:
University of Michigan Press, 1993.
Hellman, Lillian. Six Plays by Lillian Hellman. New York: Random, 1979.
Hodges, Ben, ed. Forbidden Acts: Pioneering Gay and Lesbian Plays of the Twentieth
Century. New York: Applause, 2003.
Hoffman, William M., ed. Gay Plays: The First Collection. New York: Avon, 1979.
Hughes, Holly. Clit Notes: A Sapphic Sampler. New York: Grove, 1996.
Jagose, Annamarie. Queer Theory: An Intorduction. New York: New York University,
Kaufman, Moises. The Laramie Project. New York : Random, 2001.
Kostelanetz, Richard, ed. The New American Arts. New York: Horizon Press, 1965.
52-62.
Kushner, Tony. Angels in America: A Gay Fantasia on National Themes. 1st ed. New
York: Theatre Communications Group, 1995.
Marcus, Eric. Making Gay History: The Half-Century Fight for Lesbian and Gay Equal
Rights. New York: Harper, 1992.
Martin, Carol, ed. A Sourcebook of Feminist Theatre and Performance: On and Beyond
the Stage. New York: Routledge, 1996.
Mason, Jeffrey. “Street fairs: Social Spaces, Social Performances.” Theatre Journal 48.3
(1996): 301-319.
Miller, Jordan Y, ed. Twentieth Century Interpretations of A Streetcar Named Desire.
New Jersey: Prentice-Hall, 1971.
Mintz, Beth and Esther Rothblum, ed. Lesbians in Academia: Degrees of Freedom. New
York: Routledge, 1997.
29
Morgensen, Scott. “Rooting for Queers: A Politics of Primitivity.” Women and
Performance: A Journal of Feminist Theory. 15.1 (2005): 282.
Moschovakis, Nicholas and David Roessel, ed. Mister Paradise and Other One-Act Plays
by Tennessee Williams. New York: New Directions, 2005.
Nelles, William. “Stories within Stories: Narrative Levels and Embedded Narrative.”
Studies in the Literary Imagination. 25.1 (1992): 79-96.
Patrick, Robert. Untold Decades: Seven Comedies of Gay Romance. New York: St.
Martin’s, 1988.
Phelan, Peggy. Ends of Performance. Ed. Jill Lane. New York: NYU Press, 1998.
---. “Money Talks.” Drama Review. 34.1 (1990): 4-15.
---. Twentieth Century Performance. New York: Routledge, 2006.
---. Unmarked: The Politics of Performance. New York: Routledge, 1996.
Phillips, Gene D. “Blanche’s Phantom Husband: Homosexuality on Stage and Screen.”
Louisiana Literature 14.2 (1997): 36-47.
Piontek, Thomas. Queering: Gay and Lesbian Studies. Chicago: University of Illinois,
2006.
Reinert, Otto, ed. Drama: An Introductory Antology. Boston: Little Brown, 1964.
Rich, Adrienne. “Compulsory Heterosexuality and Lesbian Existence.” Signs. 5.4
(1980): 631-660.
Roman, David. “November 1, 1992: AIDS/Angels in America.” Approaching the
Millenium: Essays on Angels in America. Ed. Deborah R. Geis and Steven
Kruger. Ann Arbor: University of Michigan Press, 1997.
Ross, Andrew. No Respect: Intellectuals and Popular Culture. New York: Routledge,
30
1989.
Sadownick, Doug. “The NEA’s Latest Bout of Homophobia: Four Rejected Artists Talk
Queer.” Advocate 14 (1990): 50-53.
Savran, David. “Ambivalence, Utopia, and a Queer Sort of Materialism: How Angels in
America Reconstructs the Nation.” Theatre Journal 47.2 (1995): 207-27.
---. “‘By Coming Suddenly Into a Room That I Thought Was Empty”: Mapping the
Closet with Tennessee Williams.” Studies in the Literary Imagination. 24.2
(1991): 57-74.
---. In Their Own Words: Contemporary American Playwrights. New York: Theatre
Communications Group, 1988.
Schanke, Robert A., and Kim Marra, ed. Passing Performances: Queer Readings of
Leading Players in American Theater History. Lansing: University of Michigan,
1998.
Schechner, Richard. Environmental Theater: An Expanded New Edition. New York:
Applause, 1994.
---. Performance Studies: An Introduction. 2nd ed. New York: Routledge, 2006.
Scott, Joan Wallach. “History in Crisis? The Others’ Side of the Story.” American
Historical Review. 94.3 (1989): 680-692.
Senelick, Laurence. “The Queer Root of Theater.” The Queerest Art: Essays on Lesbian
and Gay Theater. ed. Alisa Soloman and Framji Minwalla. New York: New York
UP, 2002.
Shank, Theodore. Beyond the Boundaries: American Alternative Theatre. Michigan:
University of Michigan Press, 2002.
31
Sinfield, Alan. Out on Stage: Lesbian and Gay Theatre in the Twentieth Century.
London: Yale University, 1999.
Shewey, Don, ed. Out Front: Contemporary Gay and Lesbian Plays. New York: Grove,
1988.
Shilts, Randy. And the Band Played On: Politics, People, and the AIDS Epidemic.
New York: St. Martin’s, 1987.
Stevenson, Catherine. “‘Seek Something New’: Mothers, Change, and Creativity in Tony
Kushner’s Angels in America.” Modern Drama 48.4 (2005): 758-776.
Stone, Wendell C. The Birthplace of Off-Off-Braodway: Caffe Cino. Chicago: Southern
Illinois University, 2005.
Susoyev, Steve and George Birimisa, ed. Return to Caffe Cino. New York: Moving
Finger Press, 2006.
Toles, George. “Blanche Dubois and the Kindness of Endings.” Raritan: A Quarterly
Review. 14.4 (1995): 115-143.
Vogel, Paula. The Mammary Plays. New York: Theatre Communications Group, 1998.
White, Hayden. Metahistory: The Historical Imagination in Nineteenth Century Europe.
Maryland: John Hopkins UP, 1975.
---. The Content of the Form: Narrative Discourse and Historical Representation.
Maryland: John Hopkins Up, 1990.
Williams, Tennessee. A Streetcar Named Desire. New York: Signet-Penguin, 1980.
---. Cat on a Hot Tin Roof. New York: Signet, 1983.
Wilson, Doric. Street Theater. in Out Front: Contemporary Gay and Lesbian Plays. Ed.
Don Shewey. New York: Grove, 1988.
32
ENGLISH GRADUATE THESES 2000-9
Roselli, Anthony. Jacques Lacan and The War Boy in Asia: The Symbolic, The
Imaginary, and The Real in When We Were Orphans, Empire of the Sun and A Boy
Called H. Thesis Director:Dr. Ziba Rashidian LB 2371.S87 #651
Meyers, Darrin. Amid the Chaos and the Still. Thesis Director: Dr. Jack Bedell
LB 2371.S87 #646
Exhano, Jessica Lynn. Seasons: A Collection of Original Poems. Thesis Director: Dr.
Jack Bedell LB 2371.S87 #
Querner, Jeffrey. The Four Stages of Mythological Development. Thesis Director: Dr.
Joel Fredell LB 2371.S87 #654
Warren, Hillary. Strangely Welcome Thunder: A Collection of Original Poems. Thesis
Director: Dr. Jack Bedell LB 2371.S87 #636
Carson, Lauren. J.The Truth in Fiction: Post-memory and Mimesis in Holocaust
Literature. Thesis Director: Dr. Ziba Rashidian LB 2371.S87 #623
Keys, Dustin Paul.Writing for Multiple Audiences: An Exploration in an Academic
Environment. Thesis Director: Dr. Paul Sawyer LB 2371.S87 #620
Sherman, Dayne. Louisiana Men lost in a Dark Wood: A Collection of Original Fiction
Thesis Director: Dr. Tim Gautreaux LB 2371.S87 #618
Wallace, Richard P. The Journey of a Prophet. Thesis Director: Dr. Jack Bedell
LB 2371.S87#613
Jacob, Amanda L. The Absent and Celebrated: Gay and Lesbian Voices in Contemporary
American Dramatic Literature. Thesis Director: Dr. Jayetta Slawson LB 2371.S87 #583
Kimberley, Rachal. The Past, Present, and Future of Supplemental Instruction at
Southeastern Louisiana University. Thesis Director: Dr. Robin Norris
LB 2371.S87 #579
Armand, David. Mae's Blues: A Collection of Original Short Stories. Thesis Director:
Dr. Tim Gautreaux LB 2371.S87 #574
DeArmond, Michael. Clarity of Communication in Electronic Interoffice
Correspondence. Thesis Director: Dr. Paul Sawyer LB 2371.S87 #567
Tracy, Katherine L. Shades. Thesis Director: Dr. Jack Bedell.
LB 2371.S87 #548
33
ENGLISH GRADUATE THESES 2000-9 (continued)
Camacho, Leigh. Sympathetic Magic: A Collection of Original Poems. Thesis Director:
Dr. Jack Bedell. LB 2371.S87 #544
Peterson, Patricia. Tenderly. Thesis Director: Dr. Jack Bedell.
LB 2371.S87 #538
Woolley, Janelle. The Mechanics of Effective Press Release Writing. Thesis Director: Dr.
Kenneth Mitchell. LB 2371.S87 #531
May, Jamie Lynn. Digital Scholarship: The Academic Journal Online.Thesis Director:
Dr. Paul Sawyer LB 2371.S87 #519
Duke, Anne. Verdi and Shakespeare: Anxiety, Conflict, and Kinship, a Critical Study.
Thesis Director: Dr. David Hanson LB 2371.S87 #517
Rothwell, Emily. Middle Man: Images of Sex and Middleness in John Updikes's Rabbit
Tetralogy. Thesis Director: Dr. Carole McAllister LB 2371.S87 #497
Barton, Andrea. Something Bright That Comes to View: A Collection of Original Poems.
Thesis Director: Dr. Jack Bedell LB 2371.S87 #507
Silvers, Sherilyn. The Possibilities of a Professional Writing Education From Technical
Writer to Instructional Developer. Thesis Director: Dr. Kenneth Mitchell
LB 2371.S87 #496
Courtright, Elliott. The Questionable Future of the Printed Word: The Debate Between
Printed and Electronic Media. Thesis Director: Dr. Paul Sawyer LB 2371.S87 #477
Schillage, Sarah. Unfortunate Love: The Voice of a Female Sonneteer. Thesis Director:
Dr. Eva Gold LB 2371.S87 #465
Ryan, Camala. Kiss My Hips With Water. Thesis Director: Dr. Jack Bedell
LB 2371.S87 #462
34
ENGLISH M.A. EXAMINATION BIBLIOGRAPHIES 2009-2011
The following M. A. bibliographies are current until Spring 2011.
LANGUAGE AND LITERACY
Exemplary Text
Harmon, Mary R., and Marilyn J. Wilson. Beyond Grammar: Language, Power, and the
Classroom. Mawah: Erlbaum, 2006. Print.
Secondary Texts
Barton, David. “Talking about Literacy.” Literacy: An Introduction to the Ecology of
Written
Language. Oxford: Blackwell, 1994. 10-32. Print.
Bloom, Lynn Z. “The Great Paradigm Shift and Its Legacy for the Twenty-First Century.
Composition Studies in the New Millennium: Rereading the Past, Rewriting the
Future. Ed. Lynn Z. Bloom, Donald A. Diaker, and Edward M. White. Carbondale:
SIU Press, 2003. 31- 47. Print.
Brandt, Deborah. “Strong: Text: Opacity, Autonomy, and Anonymity.” Literacy as
Involvement: The Acts of Writers, Readers, and Texts. Carbondale: SIU Press,
1990. 13-32. Print.
Delpit, Lisa D. “The Silenced Dialogue: Power and Pedagogy in Educating Other People’s
Children.” Harvard Educational Review 58.3 (1988): 280-298. Print.
Dunn, Patricia A., and Kenneth Lindblom. “Why Revitalize Grammar?” English Journal 92
(2003): 43-50. Print.
Gee, James P. “What is Literacy?” Literacy: A Critical Sourcebook. Ed. Ellen Cushman et
al. Boston: Bedford/St. Martins, 2001. 537-544. Print.
Hairston, Maxine. “Diversity, Ideology, and Teaching Writing.” College Composition and
35
LANGUAGE AND LITERACY (continued)
Communication 43 (1992): 179-193. Print.
Lu, Min-Zhan. “Composition’s Word Work: Deliberating How to Do Language.”
Composition Studies in the New Millennium: Rereading the Past, Rewriting the
Future. Ed. Lynn Z. Bloom, Donald A. Diaker, and Edward M. White. Carbondale:
SIU Press, 2003. 193-207. Print.
Rose, Mike. “Crossing Boundaries.” Lives on the Boundary. New York: Penguin, 2005
(1989). 205-238. Print.
Trimbur, John et al. “Responses to Maxine Hairston, `Diversity, Ideology, and Teaching
Writing’.” College Composition and Communication 44 (1993): 248-257. Print.
LITERATURE
Exemplary Text
Joyce, James. Dubliners. Ed. Margot Norris. New York: Norton, 2006. Print.
Secondary Text
Beja, Morris. “Farrington the Scrivener: A Story of Dame Street.” Coping with Joyce:
Essays in the Copenhagen Symposium. Ed. Morris Beja. Columbus: Ohio State
U P, 1989. 111-122. Print.
Ehrlich, Heyward. “’Araby’ in Context: The ‘Splendid Bazaar,’ Irish Orientalism, and
James Clarence Mangan.” James Joyce Quarterly 35.2-3 (1998): 309-31. Print.
Ellmann, Richard. James Joyce. New York: Oxford UP, 1982. 224-275. Print.
Fairhall, James. “Big-Power Politics and Colonial Economics: The Gordon Bennett
Cup Race and ‘After the Race.’” James Joyce Quarterly 28.2 (1991):
387-397. Print.
36
LITERATURE (continued)
Hodgkins, Hope. “‘Just a little…spiritual matter’: Joyce’s ‘Grace’ and the
Modern Protestant Gentleman.” Studies in Short Fiction 32.3 (1995):
423-35. Print.
Kearney, Martin. “Robert Emmet’s 1803 Rising and Bold Mrs. Kearney: James Joyce’s
‘A Mother’ as Historical Analogue. Journal of the Short Story in English 37
(2001): 49-61. Print.
Litz, A. Walton. “Two Gallants.” James Joyce’s ‘Dubliners’: Critical Essays. Ed. Clive
Hart. New York: Faber and Faber, 1969. 327-338. Print.
Norris, Margot. “The Perils of ‘Eveline.’” Suspicious Readings of Joyce’s Dubliners.
Philadelphia: U of PA P, 2003. 55-67. Print.
Senn, Fritz. “‘The Boarding House’ Seen as a Tale of Misdirection.” James Joyce
Quarterly 23.4 (1986): 405-13. Print.
Walzl, Florence. “Gabriel and Michael: The Conclusion of ‘The Dead’.” James Joyce
Quarterly 4 (1966):17-31. Print.
Wright, David. “Interactive Stories in Dubliners.” Studies in Short Fiction 32 (1995):
285-93. Print.
PROFESSIONAL AND TECHNICAL WRITING
Primary Text
Howell, Joseph T. Hard Living on Clay Street: Portraits of Blue Collar Families.
Prospect Heights: Waveland Press, 1972. Print.
* NOTE: Please make sure to purchase the Waveland Press edition as it has a 1991
epilogue that ties the book up. ISBN: 0-88133-526-6
37
PROFESSIONAL AND TECHNICAL WRITING (continued)
Secondary Texts
Charney, Davida. “Empiricism Is Not a Four-Letter Word.” College Composition and
Communication 47.4 (1996): 567-593. Print.
Doheny-Farina, Stephen. “Writing in an Emerging Organization.” Central Works in
Technical Communication. Ed. Johndan Johnson-Eilola and Stuart A. Selber.
New York: Oxford U P, 2004. 325-341. Print.
---, and Lee Odell. “Ethnographic Research on Writing: Assumptions and
Methodology.” Writing In Nonacademic Settings. Ed. Lee Odell and Dixie
Goswami. New York: Guilford P, 1985. 503-535. Print.
Gobo, Giampietro. “Chapter 1—What is Ethnography?” Doing Ethnography. Trans.
Adrian Belton. Los Angeles: Sage, 2008. 2-15. Print.
Katz, Susan M. “Ethnographic Research.” Research in Technical Communication.
Ed. Laura J. Gurak and Mary M. Lay. Westport. CT: Praeger, 2002. 23-47. Print.
Maynard, Douglas. “Ethnography and Conversation Analysis: What is the Context of an
Utterance?” Emergent Methods in Social Research. Ed. Sharlene Nagy HesseBiber and Patricia Leavy. Thousand Oaks: Sage, 2006. 55-94. Print.
Sanday, Peggy Reeves. “The Ethnographic Paradigm(s).” Administrative Science
Quarterly 24.4 (1979): 527-538. Print.
Sullivan, Patricia and James E. Porter. “On Theory, Practice and Method: Toward a
Heuristic Research Methodology for Professional Writing.” Writing in the
Workplace: New Research Prospectives. Ed. Rachel Spilka. Carbondale:
Southern Illinois U P, 1993. 220-237. Print.
38
PROFESSIONAL AND TECHNICAL WRITING (continued)
——. "Remapping Curricular Geographies: Professional Writing in/and English."
Journal of Business and Technical Communication 7:4 (1993): 389-422. Print.
Undheim, Trond Arne. “Getting Connected: How Sociologists Can Access the High
Tech Elite.” Emergent Methods in Social Research. Ed. Sharlene Nagy HesseBiber and Patricia Leavy. Thousand Oaks: Sage, 2006. 13-42. Print.
39