SUMMER 2013

1086 ENGL 501-20  INDEPENDENT STUDY  6/4 - 7/09   (instructor permission required)

1018 ENGL 501-30  INDEPENDENT STUDY 7/10- 8/13  (instructor permission required)

1892 ENGL 510-20  GRAD COOP INTERNSHIP MA LEVEL 6/4-7/9  (instructor permission required)

1894 ENGL 510-30 GRAD COOP INTERNSHIP MA LEVEL  7/10-8/13 (instructor permission required)

2940 ENGL 599-96  LONDON STUDY - WR

(travel out of country required)  -

ENGL 599: Imagining the Medieval City —3 credits - A. Rabin

The millennium between 500 and 1500 C.E. witnessed the rise of England as a European power and English as a literary language. Essential to the development of English culture was London’s emergence as a center of political aspiration, economic ambition, and artistic imagination. In this course, the city itself will be our principal textbook as we explore the medieval world and seek to better understand the influence of the premodern past on contemporary Anglo-American culture.

Following an initial week of classes in Louisville, we’ll spend two weeks exploring London and considering the ways in which the medieval past has left its imprint on the urban present. Each day will include a class session and/or workshop, accompanied by an expedition into the city and its environs. Upon our return, students will complete a significant writing assignment in which they will produce a sustained analysis of some aspect of the textual or material artifacts of medieval England studied during the course.

1893  ENGL 610-20  COOP INTERNSHIP PHD LEVEL 6/4-7/9  (instructor permission required)

1895  ENGL 610-30  COOP INTERNSHIP PHD LEVEL 7/10-8/13  (instructor permission required)

1146  ENGL 613-30  INDEPENDENT STUDY  7/10-8/13  (instructor permission required)

1088  ENGL 615-20  THESIS GUIDANCE  6/4-7/9  (instructor permission required)

1019  ENGL 615-30  THESIS GUIDANCE  7/10-8/13  (instructor permission required)

2941  ENGL 644-20  Romantic Poetry and Prose

6/4-7/9  MTWTh   9:40am-11:40am TBA   K. Hadley

(this course has been cancelled)

2937  ENGL 671-30   History of Rhetoric I
7/10-8/13   MTThF  1:00pm- 3:00pm TBA

English 671:  Classical Rhetoric—The Greeks
SSIII                                       Mary Rosner
In this 5-week summer course, our work will be directed by three topics:
1.      Primary works by Gorgias, Plato, Isocrates and Aristotle to determine what they indicate about classical rhetoric and how they are in conversation with each other.  Background readings will help us fill out the contexts for their work.
2.      Since our sense of these men’s ideas comes from the translations we choose, we will also examine and discuss differences in translations of key passages. 
3.      Finally, we will read contemporary critical texts and try to determine some of the assumptions they make about Classical Rhetoric and rhetorical history.
Be prepared to explore new material and to value it in itself—not simply as an ancestor to modern composition theory (a very oversimplifying claim).

1089  ENGL 690-20  Dissertation Research  6/4-7/9    (instructor permission required)

1020 ENGL 690-30  Dissertation Research 7/10-8/13  (instructor permission required)

FALL 2013

( Professor Paul Griner) 504 ADVANCED CREATIVE WRITING, FICTION—Description and Goals

 Prerequisite: two undergraduate college courses in creative writing, or graduate-student status.  This is a workshop-style course in the writing of original fiction.  Class sessions are used primarily to discuss work written by class members, which is distributed and studied in advance of the discussion.  You are also required to write three short papers: two will be responses to fiction readings you attend during the semester, and the third will be about a collection of short stories or a novel published in the last five years.  Before selecting a book, please check with me.

 

You know better than I do what you hope to get from the course, and the most important goals are probably the ones you yourself discover and define.  Personally, I expect to see all of you improve as writers, readers and critics.  That doesn’t necessarily mean I expect you to become more polished writers; it may mean you’re more willing to take risks, or that you’ll gain greater expertise in things you’ve already learned to do well.  The direction(s) in which you decide to push yourself is(are) largely (but not completely) up to you; I ask mainly that you do.

(Dr. Karen Kopelson)

This course introduces students to research and theories about the writing/composing process and its teaching. Readings will be drawn primarily from Rhetoric and Composition Studies (and our primary text will be _The Writing Teacher’s Sourcebook_, Corbett, Myers, and Tate, eds), though we will also read in related fields and disciplines such as literacy studies and Education. This course will be of interest to students who see themselves going into careers as secondary or post-secondary teachers. However, it would also be of interest to anyone wanting to be introduced to the field of Rhetoric and Composition, or to anyone wanting to come to a more scholarly understanding of writing processes and the art of teaching these processes.

As major course projects, students can expect to produce 1) a classroom-observation report (you will observe a teacher teaching writing and write an extensive, researched paper about what you observed), and, 2) by the course’s end, a statement of your own philosophy of teaching writing. Also required are several other short writing assignments, weekly responses to the readings, regular attendance, and rigorous participation.

This course fulfills the General Education requirement in Written Communication (WR).

(Professor Kiki Petrosino)

ENGL 507: Teaching of Creative Writing

This course will introduce a variety of approaches to teaching creative writing. Though we will focus on the benefits of the "workshop model," we'll also learn techniques for diversifying instruction to meet the needs of various student groups. Through a series of hands-on projects, students will explore methods of leading workshops and discussions of published work, responding to student work, implementing writing exercises, structuring a sample syllabus, and building individual lesson plans.  Readings will include: texts on creative writing pedagogy, writers on the writing process, and craft essays. In addition to the projects enumerated above, students will conduct an in-class teaching demonstration covering a literary genre of their choice.

8989

ENGL

518

01

FOUND OF LANG

W 04:00pm-06:45pm HM210

(Dr. Elizabeth Patton (Humanities) )

Linguistics 518: Foundations of Language

Course Description: Pre-requisite: ENGL 102 or 105; junior standing. Note: Cross-listed with ENGL 518. A survey of both the theoretical and applied aspects of Linguistics. This is not an in-depth exploration of single-topic in the field of Linguistics. This course is designed to introduce graduate students to the discipline of linguistics. The course is, simply put, a graduate level introductory linguistics course. NOTE: If you have taken LING/ENGL 325, this may not be the course for you! Please see the instructor to determine the suitability of this course to fit your particular needs if you are an undergraduate student and/or if you have recently taken LING/ENGL 325. This course will introduce students to aspects of theoretical (phonology, morphology, syntax, semantics, and pragmatics) linguistics and explore various aspects of applied linguistics. This course will also encourage graduate students to think critically about language and its use.

7071

ENGL

520

01

WORLD ENGLISHES

TTh 02:00pm-03:15pm HM210

(Dr. Soldat-Jaffe (Humanities) )  Note: Cross Listed: students can inquire with Dr. Soldat-Jaffe about spaces in linguistics section if English section fills.

English as a World Language

 English has rapidly spread throughout the world over the last few decades; it has replaced other (national) languages or taken the function of "the other" additional national language –a so-called intranational language. Why English? If we can assume that English has not become the international language due to intrinsic merits in the linguistic system, is it just a historical accident? How can we understand the role of English in a foreign country if a (national) language is generally been used as a tool for unifying a nation, for establishing political boundaries, and for creating dissent. We will explore to what extent a language may be used (for non-communicative ends) in a particular national context, how different varieties of English have their own sociological, linguistic, and literary manifestations in different countries, and we will try to understand why an artificial or constructed language (as opposed to English) could not be used as an international language. What are the motivations and attitudes favoring the spread of English? What is the perceived status of English? Is it an institutionalized or just a performance variety? This is a sociolinguistic course exploring the above questions from an ethnolinguistic and/or sociolinguistic point of view.

5209

ENGL

522

01

STRUCTUR OF MOD ENG

TTh 11:00am-12:15pm HM113

(Dr. Stewart, Jr. (Humanities)  )  Note: Cross Listed

ENGL/LING 522.01: Structure of Modern English

Course Description and Objectives:

This course is designed as a linguistic exploration of the various forms and combinations of words, phrases, and sentences that contemporary speakers of English typically recognize as belonging to that language.

To help in this exploration, students will:

• examine both popular and technical conceptions of the term “grammar”

• consider some of the ways in which one can vary from Standard American English (SAE) and still be speaking English

• acquire terminology and methods that permit clear description of English grammar

• collect real-life examples of actual English usage for detailed description

• identify and monitor trends in English usage to evaluate “changes in progress”

The text of the description above is slightly different from what I have used for this course in the past.

Please note also that the official name of the course has changed – the descriptor “American” has been deleted (even though not all UofL databases currently reflect this change, the new title has been approved administratively).

(Dr. Billingsley)

Early modern English poets used prosody, metrics, stanza form and the genre expectations identified with those conventions to organize, discipline and elaborate their poetry. In this intensive survey of sixteenth-century English poetry, we will examine those conventions and expectations in detail to develop our understanding of Tudor poetic practice; you will exercise your ability to describe that practice in rhetorically effective critical writing. Since no familiarity with these conventions is assumed, instruction in technical prosody and metrics will be integrated with analysis and criticism of the poetry. Prose readings from the period illuminate the cultural context in which these poets worked. 

Course objectives:

By successful work in this course, students should be able to gain or reinforce the following objectives:

• General familiarity with sixteenth-century English poetry and its formal conventions, cultural context and social purposes;
• Basic understanding of English prosody as a formal and intellectual discipline for writers;
• Increased familiarity with the structure and organization of secondary critical arguments; and
• Improved ability to identify or synthesize common threads of agreement and understanding in a community of readers.

Text: Stephen Greenblatt, et al., eds. Norton Anthology of English Literature, 9th ed., Vol. B: Sixteenth and Early Seventeenth Century (ISBN 978-0-393-91250-1). Note: The assigned readings can all be found in the 8th edition as well. 

Major assignments:

• Daily work (25%) includes Blackboard forum contributions, prepared in advance to prepare for each class meeting, and other assignments, prepared in advance or completed in class. Those taking the course for graduate credit will read, analyze and present selected works of secondary criticism for distribution on Blackboard via link from full-text databases licensed by the university libraries.
• Two hourly examinations (25% each) with objective and quotation ID/short-answer sections
• A term essay on a negotiated topic (25%), developed, revised and expanded from midterm onwards. Papers presented for graduate credit will include an annotated bibiliography.  

(Dr. Chandler)

The course will build on study of American realism and naturalism in the 300-level literature survey by exploring each in depth. In addition to representative works of late 19th- and early 20th-century realism and naturalism, we will read and discuss period writing about each kind of literature. We will also explore relevant socioeconomic changes informing the literature, such as rising immigration rates and urbanization. And we will examine the influence of technological developments such as the appearance of photography, film, and mass-market publishing. Among the writers we may study are Jewett, James, Howells, Zitkala-Sa, Dunbar, Crane, Twain, London, Chopin, and Chesnutt. The course will also rely on scholarly studies of realism and naturalism.

8809

ENGL

554

75

WOMEN'S PERSONAL NARR

Th 04:30pm-07:15pm HM123

(Dr. Fosl (Womens and Gender Studies) )  Note: Cross Listed

Dr. Fosl's  ENGL 554 COURSE IS UNFORTUNATELY CANCELLED.

(Dr. Biberman)

This course is actually titled "Civic Heroes and Foreign Devils".  The listing in the schedule will be updated soon.

(Dr. Stanev)

ENGL 581, "Civic Heroes and Foreign Devils: The World of Renaissance Drama (1598-1625)”

This course will investigate a complex set of relationships between stage, street, performance, and ideas of economic migration, capital enterprises, credit, aliens and alienation, fashion, expression, transgender identities, parody, and sexuality. The main questions that we will pursue address the ways in which drama in the age of Shakespeare negotiated specific forms of metropolitan identity that often opposed domestic to foreign, familiar to exotic, native to accented, satirically depicting the urban landscape in fluid, almost unfamiliar terms, unleashed by the sweeping currents of foreign labor, proto-capitalism, consumerism, and the disintegration of stable social markers of self, gender, and status. We will further explore closely the rapid development of urban life and economic migration under Queen Elizabeth I and her successor King James Stuart, and study the material and cultural conditions of play-acting and play-going at the turn of the seventeenth century. We will consider ultimately how the staged version of London at the turn of the seventeenth century created a new understanding of the city, polarized between domestic civic virtue and the menace of alien enterprises, affecting space and social structure, as well as reflecting on the significance of city life on both domestic and national terms. Primary dramatic texts will include Jonson’s Epicene, Alchemist, and Bartholomew Fair, Middleton’s A Chaste Maid at Cheapside and A Trick to Catch the Old One, Dekker and Middleton’s The Roaring Girl, Marston’s Dutch Courtesan, Chapman, Jonson, and Marston’s Eastward Ho, Beaumont’s Knight of the Burning Pestle, and Dekker’s The Shoemaker’s Holiday.

(Dr. Andrew Rabin)    Note: this course requires permission from the instructor)

An introduction to graduate study in the context of the intellectual and institutional history of English and American literary scholarship over the course of the past century. We will look primarily at the development of professional literary study in the United States, with attention as well to British and Continental trends and contemporary global developments. The course will focus on case studies, with clusters of readings that illustrate major issues and varying approaches to the study of literature in a university setting.

(Dr. Brenda Brueggeman, Director of Composition, Fall 2013)   Note: this course requires permission from the instructor

1617

ENGL

604

01

WRIT CENTER THEOR & PRAC

MW 04:00pm-05:15pm TBA

(Dr. Bronwyn T. Williams)  Note: this course requires permission from the instructor

This course prepares incoming GTAs to teach in the University Writing Center. In this course we will discuss the theoretical foundation necessary for examining pedagogical issues important to an effective writing center. We will cover topics including ways of approaching writing consultations with students, responding effectively to student writing, the role of style and grammar instruction in the writing center, consulting strategies for ESL students, digital media and writing center work, assessment and record-keeping, and resource development. We we read a variety of scholarship on issues of literacy, composition and rhetoric, and writing center work as well as discuss issues raised in weekly work in the Writing Center.

1196

ENGL

606

75

CREATIVE WRITING I

M 07:00pm-09:45pm TBA

(Professor Kiki Petrosino)   Note: this course requires permission from the instructor)

This graduate-level workshop is for writers of poetry, fiction, and drama. Because this is an advanced course, I expect students to demonstrate a working knowledge of the basic literary terms appropriate to each genre. This workshop-style course invites students to continue developing their own writing practices, while adding new compositional and critical techniques to their repertoires. We’ll devote most class sessions to reviewing peer-generated works-in-progress, but we’ll also discuss some published texts in each genre and take time to explore other relevant elements of the creative process. Students should be prepared to participate energetically in group critique sessions (i.e., “workshop”) in addition to polishing their own writing. Students will assemble a portfolio (containing 30-60 pages of prose/drama OR 20-30 pages of poetry OR some combination of these) at semester’s end. Each student will also write significant responses to each peer manuscript and compose 4 brief responses to selected published pieces. The final grade will be calculated based on the above items, plus attendance and participation.

 

8804

ENGL

653

75

IRISH STUDIES - JOYCE

Th 07:00pm-09:45pm TBA

(Dr. Henke)

English 653--IRISH LITERATURE: JAMES JOYCE

This graduate seminar will focus on James Joyce's Dubliners, A Portrait of the Artist as a Young Man, and Ulysses, with culminating discussions of style in Finnegans Wake as time allows. Students will be expected to take part in the critical debate about Joyce's millennial status and his contributions to the modernist movement, postcolonial literature, Irish politics, and 20th-century experimental art. Why was Ulysses judged the most important novel of the 20th century? Do you agree that Joyce is the most significant English-speaking author of the century?

The Richard M. Kain Collection of Anglo-Irish Literature is an archival treasure-trove available to students in the Ekstrom Library Rare Book Room. The 63-volume James Joyce Archive, edited by Michael Groden, offers an invaluable resource in the preparation of class reports and graduate research papers. Consult Delinda Buie, rare books curator, for more information.

Warning: Seminar Participation may result in a life-long addiction to Joyce Studies!!! Students who write distinguished seminar papers will be encouraged to submit them for presentation at the international James Joyce Symposium in Utrecht, Netherlands, June 2014.

7062

ENGL

673

01

CLARISSA & BLOGS

TUE 04:00pm-06:45pm TBA

(Dr. Journet)

English 6xx:  Clarissa, Blogs, and Narrative Identity

In this seminar,

1.  We will read blogs (and research about blogs) -- particularly blogs in which people write about deeply personal issues such as (only examples) coming out, or engaging in unconventional sexual activities, or responding to abuse or illness.    While we will look at a range of blogs in class, you will select the specific blog you want to follow for the class project.

2.  We will read Samuel Richardson's Clarissa (and research about Clarissa)--one of the longest, sexiest, most compulsively readable novels in the English language.  (If you have read Pamela and think you know Richardson, you are in for a surprise).

3.  We will read work in narrative theory of identity.

Our take on this reading will be how individuals construct narrative identities as they write for an audience, particularly in times of stress, complexity, and trauma.

We will put Clarissa, blogs, and narrative theory together because both this novel and many blogs share an epistolary (letter-writing) structure and a concern with domestic and personal writing.   Kathleen Fitzpatrick argues that "these two factors [epistolary style and personal writing] . . .  suggest that blogs that are interested in the ongoing production of a personal narrative are in fact poised to become a literary form with all of the resonance and sophistication of the novel."  Reading Clarissa, reading blogs, reading research and theory, we will test this claim.

The primary project of the class will be to remediate parts of  Clarissa as a blog.   We will do this by posting excerpts from Clarissa and Lovelace's letters and writing back to them.  Our responses will take a number of forms: as 18th century readers, as 21st century readers, and as scholars interested in identity, narrative and media.  We will thus explore how blogs (like letters) can function as sites of identity formation, and we will make our argument in a blog.

The ultimate goal will be to shape this blog into a scholarly artifact that can be submitted to an online journal.  (The editor of KAIROS has already expressed interest in the project and has offered suggestions for us to consider as we construct the blog .)   At the seminar's end, I will ask anyone who wishes to be a co-author of the article, to participate in editing the blog for journal submission. (So, this course will contain an optional publishing opportunity.)

8805

ENGL

674

01

COMMUNITY LITERACY

W 04:00pm-06:45pm TBA

(Dr. Sheridan)

English 674: Community Literacy (Mary P. Sheridan)

This course will examine the histories, theories, and methods of our field’s current engagement with researching community literacy practices. We will then try to enact, on a small scale, our own understandings of meaningful community literacy work.

We will read approximately 5 book-length research studies (such as those by Ellen Cushman, John Duffy, Linda Flower, Eli Goldblatt, Jeff Grabill, Caroline Heller, Paula Mattieu), a series of foundational articles (largely fromWriting and Community Engagement: A Critical Sourcebook), institutional documents about community engagement, and primary documents from our research sites. In addition to reading, we will research and/or participate in community literacy practices; students are encouraged to work with partners where they already have connections, or many of us may work with a class-identified partner.  Assignments will include weekly responses, a mid-term academic paper, and a final textual or digital project that responds to the needs of our community partners.

8807

ENGL

681

01

SCENES OF READING

WED 04:00pm-06:45pm TBA

(Dr. Griffin)

Scenes of Reading, 1800-1900

This seminar will explore depictions of, research on, and theories about reading in nineteenth-century America and Britain. Book History and Cultural Studies have made this an important area of study in recent years, and we will draw upon this new work. Reading is also represented as central in the life-stories of many Victorians, historical and fictional, although reading experiences differed wildly depending upon class, race, gender, family, as well as geographic location.

Attempting to understand these varied reading experiences raises many scholarly and research questions, e.g.: What reading materials were available at a given historical moment? How were they produced and distributed? What did they cost? How, literally, were they read--aloud? silently? in a group? alone? How were they understood? What functions—personal, cultural, economic, educational—did reading serve? What were “bad books”? Why?

Possible readings: Abel, “Black Writing, White Reading; Brantlinger, The Reading Lesson: The Threat of Mass Literacy in Nineteenth-Century British Fiction; Cornelius,"'We Slipped and Learned to Read'" Slave Accounts of the Literary Process";  Garvey, Scissoring and Scrapbooks: Nineteenth-Century Reading, Remaking, and Recirculating"; Hochman, “Sentiment without Tears: Uncle Tom’s Cabin as History in the 1890s; Hughes & Lund, The Victorian Serial; Leighton & Surridge, “Toward a Narratological Analysis of Illustrated Serial Fiction”; Machor “The American Reception of Melville’s Short Fiction"; McHenry, Forgotten Readers: Recovering the Lost History of African-American Literary Societies; Radway, “What’s the Matter with Reception Study? ; Rose, The Intellectual Life of the British Working Class; Rubin, Songs of Ourselves: The Uses of Poetry in America; Sicherman, Barbara. Well-Read Lives: How Books Inspired a Generation of American Women; Smith &Wilhelm. Reading Don't Fix No Chevys: Literacy in the Lives of Young Men; Sweeney, Reading is My Window: Books and the Art of Reading in Women’s Prisons; Zboray, A Fictive People: Antebellum Economic Development and the American Reading Public, as well as works by Mary Elizabeth Braddon, Frederick Douglass, Henry Wadsworth Longfellow, Robert Louis Stevenson.

8806

ENGL

681

75

ETHNOGRAPHIC METHODS

T 07:00pm-09:45pm TBA

(ENGL 681 has been cancelled for Fall 2013 and will be reoffered in future semesters.)

8808

ENGL

686

75

HEMISPHERICAL AMER LIT

W 07:00pm-09:45pm TBA

ENGL 686 Hemispheric American Literature (Amy Clukey)

This course will examine American literature through a “hemispheric” framework. Hemispheric studies seeks to rethink American exceptionalism by recontextualizing the United States within a shared cultural history of the Americas. We’ll begin with a group of theoretical and critical texts that will help us acquire a common vocabulary for literary analysis. Next, we’ll turn to a series of literary texts that think “beyond the nation” to deconstruct and reconstruct traditional ideas of what it means to be “American.” Along the way we’ll look at novels that rewrite American history from occluded perspectives (immigrants, bandits, insurrectionists, indigenous peoples, and slaves) and find cosmopolitanism in some surprising—and not so surprising—places (the modern city, the village, the plantation, the reservation, the border).

 

8818

ENGL

688

01

WATSON SEMINAR

M 04:00pm-06:45pm TBA

Emerging Genres: History, Technology, Social Change

Carolyn R. Miller

Genres can be understood rhetorically as ways of acting together, recurrent communicative interactions that enable social coordination. Genres both constrain and enable; they link together in systems and ecologies that mediate agency and social structure, constituting our social identities, institutions, and cultures. Genre has been an active area in rhetorical studies for the past 20 years. There are studies of traditional genres such as presidential inaugurals, papal encyclicals, diaries, apologias, as well as of professional and workplace genres such as scientific research articles, employee performance appraisals, and corporate annual reports. And in composition studies there is an active interest in classroom and pedagogical genres. But genre is a concept that cuts across disciplines and media—in literary studies, genres are normative traditions that associate form and meaning; in the visual arts, there are genres of painting, sculpture, and public memorials; and films are also classified by genre, both by critics and by movie-goers.

The new digital media have multiplied opportunities for symbolic action and thus the potential for many new genres (for example, Wikipedia has an elaborate taxonomy of videogame genres). But how do new genres emerge? How do they balance stability with change? How do we develop shared recognitions and identifications in unprecedented situations? How do we discern recurrent patterns in an environment of volatility and change? How are new genres related to old ones? Can the same theories that were developed for print genres account for visual, auditory, and digital genres?

In this graduate seminar, we will read widely, to develop a multidisciplinary understanding of genre theory and to begin answering some of the questions raised above. We will also examine a wide variety of genres, to discern and analyze new genres as well as old genres when they were emerging, with an eye on the balance between stability and change and on the relationships between genre, identity, and power.

8799

ENGL

692

75

ALIEN EPISTEMOLOGIES

M 07:00pm-09:45pm TBA

To borrow from the semi-ficticious International Necronautical Society: how and why does matter matter? "Speculative realism" is a new term of art for the theoretical turn to materialism contra the linguistic turn and ignoring Marx (forward from Heidegger: Benjamin, Flusser, Serres, Latour, Malibou, Badiou, Luhmann, and Kittler). Others prefer "speculative materialism" or "object oriented ontology” for this initiative, but this seminar - called "alien epistemology" - will examine the various critical yields from debates surrounding knowledge and the posthuman, posthumanism and post-humanities in contemporary literary and cultural studies - moving beyond the work on cyborgs of a decade ago.  We'll track the "return" to things or objects and access recent attempts to try to roll back the linguistic turn. We'll spend some time on novels "written" by aliens, dogs, robots, computers and other alternate forms of sentience (Lovecraft, Frankenstein, Patchwork Girl, etc.) but the focus will be mostly theory (the syllabus is likely to include selections from Benjamin, Blanchot, von Uexküll, Serres, Latour, Foucault, Hayles, Quentin Meillassoux, Eugene Thacker, Agamben, Esposito, Cary Wolfe and others).