ENGL
209
SPRING 2016
COURSE
DESCRIPTIONS
IntroductiontoLinguistics
3Credits
JessicaZerr
TuTh11:00Ͳ12:15
Howdobabieslearnlanguage?Whataccountsforyourabilitytounderstandsomethingyou’veneverheard
before?Howarethoughtandlanguageconnected?Whydopeopleswear?Whydopeoplehaveaccents?
Andwhogetstodecidewhat“propergrammar”isanyway?
Thesequestionsandmorearepartofourinquiryintolanguageandthefieldoflinguistics.IntrotoLinguistics
isasurveycoursedesignedtogiveyouanoverviewoflanguageasasystemofcommunication.Wewill
examinethestructureoflanguage,considerhowpeopleacquireanduselanguage(s),anddiscusslanguage
variety.Astimeallows,wewillconsiderhowlanguageisencodedintowritingsystemsandhowliteracyskills
relatetolanguage.Wewillconsiderexamplesfrommanydifferentlanguagesasweseektounderstandhow
languageworks,however,Englishwillprovidethebasisformostdiscussionandanalysis.
Studentsinterestedinboththesciencesandthehumanitieswillfindthesubjectmatterappealingand
relevant.Studentsinthiscourseareencouragedseetheconnectionsbetweenlinguisticsandotherfieldsof
study.
Department of
English
Studentsshouldexpecttocompleteregularreadings,quizzes&homework,andatleast2examsorprojects.
RequiredText:
Fromkin,Rodman,Hyams.AnIntroductiontoLanguage.(10thed.)ThomsonͲWadsworth.
December 8, 2015
ENGL
209
IntroductiontoLinguistics
3Credits
ENGL
225
XiaozhaoHuang
TuTh11:00Ͳ12:15
IntroductiontoFilm
3Credits
BenjaminMorris
Sec.1:Tu2:00Ͳ4:00/Th2:00Ͳ2:50|Sec.2:Tu2:00Ͳ4:00/Th3:00Ͳ3:50
Thisintroductorycourseisdesignedforyoutolearndifferentareasoflanguageinvolvedinourdailylife.
Topicsincludemorphology,semantics,syntax,phonetics,phonology,sociolinguistics,languagechanges,
historyofwritingsystems,andlanguageacquisition.Courserequirements:assignmentsandexaminations.
RequiredTextbook:
Fromkin,Rodman,andHyams(2014).AnIntroductiontoLanguage.10thed.Wadsworth,CengateLearning.
ThisisanEssentialStudiescourseandwillcounttowardsyourdistributionrequirementinHumanities.
Thisessentialstudiesclassisdesignedtosharpenyouranalyticalskills.Thisclasswillintroduceyoutothe
basicsoffilmproduction,narrative,performance,style,cinematography,editing,sound,etc.Itwillteachyou
torecognizehowmoviesconveyinformationandmeaningonmultiplelevelssimultaneously.Itwillalso
exposeyoutoavarietyoffilmsproducedintheU.S.andothercountriesfromtheverybeginningsofthe
mediuminthe1890s,throughthesoͲcalled"silentera"ofthe1910sͲ20sandthe"goldenage"ofHollywood
inthe1930sͲ50s,uptothepresent,includingsomefilmsinforeignlanguageswithEnglishsubtitles.Students
interestedonlyinthelatestHollywoodhitsareinthewrongclassandshoulddropimmediatelytomakeroom
forseriousstudents.Wewillbeviewingfilmstoseehowtheyfunctionascommercial/entertainment/artistic
artifacts,aswellashowwemightplacethemwithincertainhistorical/culturalperspectives,andwhythese
waysofseeingfilmmightbemoreorlessimportanttousasviewers.Youwilllearnhowfilmmakerscanguide
andmanipulateaudienceresponse.Bytheendofthisclassyouwillbecomeadeptatviewingfilmswithan
eyetowardhowtheyaffectyouasaperson.Therewillbethreepapersandthreeunittests,butno
comprehensivefinalexam.Studentswillalsobeexpectedtopostweeklyreactions/analysestoaBlackboard
onlinediscussionforumaboutthefilmsassignedforclass.OurtextwillbeRichardBarsam'sandDave
Monahan’s"LookingatMovies"(fourthedition),whichcomesinapacketwithtwoDVDsoftutorialsandshort
filmsplusanotherbook“WritingAboutMovies.”
Theprimarygoalistosharpenstudentskillsinobservationandanalysis,providingafoundationforplacing
filmsintohistoricalandculturalperspectivewhileunderstandinghowfilmmakersguideandmanipulate
audienceresponse.
ENGL
226
IntroductiontoCreativeWriting
ENGL
226
3Credits
AndrewHarnish
MWF12:00Ͳ12:50
IntroductiontoCreativeWriting
3Credits
HeidiCzerwiec
TuTh11:00Ͳ12:15
ThisisanEssentialStudiescourseandwillcounttowardsyourdistributionrequirementinFineArts.
Inthisclass,youwillbecomefamiliarwiththebasicelementsofcraftthatwritersusetowritefictionand
poetryandnonfiction.Youwilllearntorecognizeanddiscusstheseelementsinassignedreadings,practice
themwhilewritingshortinͲclassexercisesandlongerwritingassignments,andcritiquethemineachother’s
workduringworkshops.
CourseRequirements:
Ͳ
Ͳ
Ͳ
Ͳ
ThisisanEssentialStudiescourseandwillcounttowardsyourdistributionrequirementinFineArts.
Inthisclass,youwillbecomefamiliarwiththebasicelementsofcraftthatwritersusetowritefictionand
poetry,andsomeshortcreativenonfiction.Youwilllearntorecognizeanddiscusstheseelementsin
assignedreadings,practicethemwhilewritingshortinͲclassexercisesandlongerwritingassignments,and
critiquethemineachother’sworkduringworkshops.
Regularattendanceandactiveparticipationinclassdiscussions
Writtenresponsestoexercisesintheformofawriter’snotebook
Specificcommentsonclassmembers’workforworkshop
2storiesand1collectionofpoems
CourseRequirements:
RequiredTexts:
Ͳ
Ͳ
x
x
x
x
MethodandMadness:TheMakingofaStory,AliceLaplante
ThePracticeofPoetry:WritingExcercisesfromPoetsWhoTeach,RobinBehnandChaseTwichell
Regularattendanceandactiveparticipationinclassdiscussions
Writtenresponsestowritingpromptsandassignments
Specificcommentsonclassmembers’writingforworkshop
Portfolioofrevisedworkatendofsemester
RequiredTexts:
Lotsofhandouts
Photocopiesofyourownworkforworkshops
ENGL
226
IntroductiontoCreativeWriting
ENGL
227
3Credits
RhiannonConleyͲPierson
TuTh12:30Ͳ1:45
3Credits
DeanneSparks
MWF9:00Ͳ9:50
ThisisanEssentialStudiescourseandwillcounttowardsyourdistributionrequirementinFineArts.
Writingisamuscleandgoodwritersexerciseregularly.English226isanintroductorycourseopentostudentsof
anymajorwhoareinterestedinexercisingtheirwritingmusclesbyreading,writingandtalkingaboutreadingand
writing.TheclasswillbediscussionͲbasedandfocusedonreadingandwritingassignmentsdonebothinsideand
outsideoftheclassroom.Studentswilladditionallyberequiredtocomposenumerous,originalcreativeworksof
theirownincluding:shortfiction,flashfiction,poetryandcreativenonͲfiction.Theseworkswillbesharedand
critiquedingroupworkshopssothattheymayberevisedaspartofthestudent’screativeportfolio.
ThisisanEssentialStudiescourseandwillcounttowardsyourdistributionrequirementinHumanities.
TheDoctorisIn?MedicalScienceandAmericanCulture
FromNathanielHawthorne'sRappaccini'sDaughterandRobertLouisStevenson’sDr.JekyllandMr.Hydetothe
criticallyͲacclaimedHouseM.D.,Scrubs,andSherlock,storiesaboutpatientsanddoctorshavecaptivated
audiences.WhatdothestoriesthatasocietycreatesͲͲaboutdisabilityanddisease,aboutwho(andwhat)hasthe
powertoheal,aboutthefearofdeathanddesirefortranscendenceͲͲsayaboutculture,history,andthe
experienceofbeinghuman?TopicswillincludethepatientͲpractitionerrelationship,medicaldetection,illness
narratives,epidemicsandthe“outbreak”narrative(such
asthe1918Influenzashortstories),thequestfor
immortality(likeHawthorne’sDr.Heidegger’s
Experiment),andtheracializationandclassͲdeterminants
ofmedicalscience(i.e.ShermanAlexie’sshortstory“The
ApproximateSizeofMyFavoriteTumor”andthepoem
“ScarletLetter”).
IntroductiontoLiteratureandCulture:MedicalScience
ENGL
228
DiversityandGlobalLiterature:Gender&GlobalLiterature
ENGL
229
3Credits
KathleenDixon
MWF12:00Ͳ12:50
3Credits
DavidHaeselin
MWF11:00Ͳ11:50
ThisisanEssentialStudiescourseandwillcounttowardsyourdistributionrequirementinHumanities.Thiscourse
alsomeetstheGlobalDiversityspecialemphasisarea.
ThisEssentialStudiescoursefulfillsthedistributionrequirementinHumanitiesandU.S.Diversity.
Ifelected,2016RepublicanPresidentialcandidateDonaldTrumpplanstobuilda“great,greatwall”alongAmerica’s
southernborderwithMexicotodeterbordercrossing.FellowcandidateChrisChristiehassuggestedimplantingRFID
chipsintobordercrossersinordertotrackthemlike“FedExpackages.”Withoutadoubt,immigrationhasemergedasa
chiefissueforthenextPresidentialelection,and,furthermore,representsamajorsourceofdiscordacrossthenation
andtheglobe.DespiteexamplesofferventantiͲimmigrantrhetoriconthenationalstage,onecannotdenythatthe
UnitedStatesisanationpeopledprimarilybythedescendantsofimmigrantsandimmigrantsthemselves.Thiscourse
willarguethatreadingnarrativesdepictingtheprocessesofindividualsbecomingrecognizedasAmericanandstarting
tofeellikeAmericanthemselves
canhelpclarifythecurrentsocial,
cultural,andpoliticalcomplexities
associatedwithlegalandillegal
immigration.
Thiscoursewillsurveythe
literatureofthemanyphasesof
Americanmigrationand
immigrationstartingwith
EuropeansettlersintheColonial
period,thenmovingtotheinflux
of“White”ethnicgroupsduring
thenineteenthandearly
twentiethcenturies.Nextwewill
lookatstoriesandpoemsthat
emergefromthe“Great
Migration”ofAfricanAmericanstotheIndustrialNorthaftertheabolitionofslaveryaswellasthestoriesofJewish
immigrantsbeforeandafterWorldWarII.Thehistoricalarcoftheclasswillendwithfilmsandnovelsdealingwith
the“new”trendofAsianandLatinoarrivalduringthelastfiftyyears.
Thetypesoftextswereadforthiscoursewillbeasdiverseasitssubjectmatter.Wewillstudyshortstories,novels,
films,television,poetry,music,andgraphicnovelscoveringthemessuchasAmericanization,alienation,globalization,
dislocation,integration,ghettoization,identityconstruction,hybridity,trauma,andculturalloss.Studentswillbe
expectedtoreadforeachclasssession,activelyparticipateinclassdiscussion,andproduceavarietyofshortcritical
interpretations.Thefinalprojectfortheclasswillaskstudentstocreateadigitalmapchartingthemovementof
charactersacrossnationalbordersinordertoaskwhatitmeanstobelonginAmerica.
Possibletextsinclude:
Tan,Shaun.dŚĞƌƌŝǀĂů(2007)
Cather,Willa.DLJŶƚŽŶŝĂ(1918)
dŚĞ<ŝƚĞZƵŶŶĞƌ(dir.MarcFoster,2007)
Ozick,Cynthia.dŚĞ^ŚĂǁů(1989)
^ŝŶEŽŵďƌĞ(dir.CaryFukunaga,2009)
Lee,ChangͲRae.EĂƚŝǀĞ^ƉĞĂŬĞƌ(1995)
Donoghue,Emma.ƐƚƌĂLJ(2013)
ĞĂĚǁŽŽĚ͗dŚĞdĞůĞǀŝƐŝŽŶ^ĞƌŝĞƐ(creatorDavid
Milch,2004)
Henríquez,Cristina.dŚĞŽŽŬŽĨhŶŬŶŽǁŶŵĞƌŝĐĂŶƐ
(2014)
Díaz,Junot.dŚĞƌŝĞĨtŽŶĚƌŽƵƐ>ŝĨĞŽĨKƐĐĂƌtĂŽ
(2007)
Howdoesoneapproachauthorsandwritingsproducedinaculturedifferentfromone’sown?True,onecanfind
manyworkstranslatedintoEnglish,butthatdoesn’tsolvetheproblem.Eventranslationisdifficult:muchischanged
orevenleftoutfromtheoriginal.Noristheproblemlinguisticonly.Itisliterary.Sowewillrefreshourselvesabout
somemethodsofreadingliterature.Colonialismandpostcolonialismwillfigurelargeinourinterpretations.Thus,
social,cultural,economic,racial,gender,andpoliticaldifferenceswillallcontributetotheneedtonegotiateourway
througheachtext,asOdysseusnavigatesaroundtheMediterraneaninhislengthyquesttoarrivehome.
Wecanmaybegetsomeinsightfrom
writerswithadualbackground.We’ll
startwithapassagefromEdwardSaid's
OrientalismandapplyittoConstantine
Cavafy’sfamouspoems“Ithaca”and
"WaitingfortheBarbarians"ͲͲinboth
modernGreekandinanEnglish
translation.AncientGreeks,from
whosemythsCavafydrew,hada
“them/us”perspectiveasregardsthe
peopleoftheEast,whomtheysawas
“barbarians.”Wewillthenmovetoa
casestudyofsomemodernGreek
musicfromAsiaminor,rembetika.I
havewrittensomethinginEnglishona
famouswomanrebetikasinger,Sotiria
Bellou,andwe'lllookatsomelyricsinmodernGreekandEnglish.WewillconsiderNativeAmericanauthorSherman
Alexietobecontributingtopostcolonialwriting.WillSaid'sideasbefittingforAlexie'swork,orwillweneedto
amendthem?Beforethemidterm,wewillreadtwoorthreeofAlexie'sshortstoriesfromthecollection,Blasphemy.
Onthesereadingsandclasslecturesanddiscussions,wewilltakeamidterm,whichwillbeanessayexamination. Forthesecondhalfofthesemester,wewillbeginwithsomeshortstoriesbyanAfricanauthor,ChimamandaNgozi
AdichietoseeifSaid'sideaswillapplythere.Nextwe’llreadsomeonewithlineagefromtheEast:SandipRoy,author
ofDon'tLetHimKnow,astoryofchangeinlate20thC.India(theauthoremigratedtotheU.S.,sothereisabiͲ
culturalcharactertothenarrative).ThecoursewillendwithanovelbyanIrishwomanwhoimmigratedtoCanada,
EmmaDonoghue.Herbook,StirFry,isoutofprint,soI'llsupplyyouwithsomeusedcopies.
Throughoutthesemester,wewilltrytodeterminehowgenderischanginginaglobalworld.
Evaluation:Studentswillproducedaily(orneardaily)exercises,somelongerbutstillratherinformalcritical
writings,amidterm,andafinalexam.Thefirsthalfofthesemesterwillbethestudent’slearningphase;the
secondhalfislikelytobeeasier,sinceourmethodsofreadingwillbeclearerbythen.Studentswhoshow
markedimprovementacrossthesemesterwillbedulyrewarded.Attendanceismandatory.Don’tskip;saveyour
fewabsencesforlegitimateneeds.Partofyourgradewillrestonactiveengagementinclasslectureand
discussion.
DiversityinU.S.Literatures:AmericanMigrations
ENGL
234
IntroductiontoWriting,Editing,andPublishing
ENGL
242
3Credits
ChristopherBasgier
MWF9:00Ͳ9:50
WorldLiterature
3Credits
MichaelBeard
MWF10:00Ͳ10:50
Asurveyisanattempttoshowyouhowliteratureandhistoryfittogether.That’smyplananyway.Thiscourseputs
togetheraselectionofmajorworks(stories,poems,essays,occasionallytheater)fromdifferentcultures,in
historicalsequence,startingwiththe1600sandworkingourwaytorecenttimes.Theyare,incidentally,thebooks
andwriterswhosenamesyou’llbehearingallyourlife.Myplanisforustoreadworkswhichdemonstratehow
literarytraditionsdevelopindifferentcultures.ManyofthereadingsarefromEurope;morearefromlessfamiliar
cultures.NonewerewritteninEnglish.Theplanhereisthatliteratureintranslationallowsustoseehowtheworld
looksthroughothereyes.Afly’svisionofliteraryhistory.
ThiscourseisnotnecessarilyaimedatEnglishmajors,orstudentsstudyinglanguages,orstudentswithprevious
experienceinliterature.Thiscoursecanalsobeanintroductiontoliterature:howtounderstandit,analyzeit,and
howtoappreciateit.
Moredetails:whenwestudyliteraryhistorywearealsostudyingworldhistory(i.e.social,politicalintellectual
history).Iwanttoshowyouhowwritersinfluenceoneanotherandcreatespecifictraditions.Ithappensinevery
culture.Thisalsomeansstudyingculturaldifferences,thewaysvariousworksofliteraturefollowdifferentrules
andexpressdifferentvalues.Still,onceyouknowthedifferences,youcanseethatliteraturealsohaselements
thatareconsistentacrosscultures.Theevidenceisthatwestillreadthemandstillcanenjoythem.Iguarantee
that.
Therewillbetwoorthreequizzes,ashortpaperandafinalexamination.
Thiscourseisdesignedtointroduceyoutothehabitsofmindandprofessionalpracticesentailedinthe
writing,editing,andpublishingindustry.How,wewillask,canwritersnavigatewithinanincreasingly
complexandcompetitivepublishingindustry?Toaddressthisquestion,wewillfirstconsiderthehistorical
developmentofthebookasatechnology.
Withthishistoricalbackgroundinmind,wewillthenturn
tothecontemporarypublishingindustry.Througha
criticalanalysisofestablishedpublishingfirms,wewill
developaclearunderstandingoftheprocesswriting
undergoesasitmovesfromsubmissionthroughediting
toeventualpublication.Therestofthesemesterwill
revolvearoundahandsͲonpublishingproject.Workingin
smallgroups,youwillcompetetodevelop,edit,design,
andpublishthesecondeditionofLeadingbyExample:
ModelsofWritingforENGL110,acollectionofstudent
workfromENGL110(Composition1),tobeusedby
studentsinthatcourseduringthe2016Ͳ2017schoolyear.
Todoso,wewillhavetoworklikeapublishingfirm,with
allthatentails:acquisitions,communicationwithauthors,
copyediting,factchecking,layoutanddesign,and
marketingandpublicity.ThissemesterͲlongprojectwill
giveyoupracticalexperienceandtheoreticalknowledge
ofthepublishingindustry.
Textbooks:
TheNortonAnthologyofWorldLiterature,shorter3rded.(W.W.Norton,2013)vol.2ISBN9780393919615(pbk)
Goldoni,OneServant,TwoMasters,trans.StephenMulrine(NHB)
Balzac,ColonelChabert(NewDirections)
ENGL
271
ReadingandWritingaboutTexts
ENGL
272
3Credits
AdamKitzes
TuTh12:30Ͳ1:45
IntroductiontoLiteraryCriticism
3Credits
LoriRobison
MWF12:00Ͳ12:50
This is an Essential Studies course and will count towards both your Humanities and
your Advanced Communication requirements.
What sort of activity
takes place when we
read? Is there more
than one way to read
a text? If so then
what makes one
method better than
another? What
happens when we
designate a text as
“literary” – what
sorts of claims are
we making about the
nature of the
language, our
expectations for what
we might learn from the text? What sorts of objectives are we after when we write about a text,
and what approaches can we take in order to reach them?
DesignedasthesecondpartoftheintroductiontotheEnglishmajor,thisclassexploresthedominantways
ofapproachingliterature,knownas“theory.”Learningmoreabouttheoryandhowitworkswillhelpyou
understandyourcourseworkinalargercontextandwilldeepenyourabilitytoanalyzetexts.Thisclassis
designedtogiveyoulotsofactualpracticeintheuseofdifferenttypesofcriticaltheory.
Thisclassisalsoaboutrecognizinghowandwhyyoualreadyinterpretliteratureinthewaysyoudo,and
whatthesocialandpoliticalimplicationsofthoseinterpretationsare.Ratherthananabstractimposition
ontexts,criticaltheoryarisesorganicallyfromattemptstointerprettextsinvarioussocial,political,and
economiccontexts,andsoissomethingyoualreadydo.Criticaltheorygivesusasharedvocabularyto
talkaboutwhatwedoasreadersandwritersoftexts,asthinkers,ashistoricalandculturalsubjects;it
challengesustomakemorethoughtfulchoicesasmembersofacademicandsocialcommunities;and
enablesustorevisitourbasicassumptionsandvalues,andtryonnewwaysofthinking.
ThisclasswillbeprimarilydiscussionͲoriented.Studentsshouldbepreparedtoreadcarefully,toasklots
ofquestions,andtotryoutnewideasthroughtheirwritingandthroughclassdiscussion.Finalgrades
willbedeterminedthroughclassparticipation,regularinformalwriting,grouppresentations,and3
analyticalpapers.
What kind of knowledge do we produce when we write, say, an analysis of a story or a poem?
These are a few of the basic questions which will guide us through the selections of readings,
and which determine the nature of our assignments. This course is not designed to be a survey
of an historical period, nor an introduction to a genre (e.g. “Poetry”). By no means is this a
“Great Books” course. The readings here were selected in order to offer you a sample of different
types of literature. You are not expected to like everything – though hopefully you will like many
and dislike only a few. You should have no trouble finding yourself engaged with all of them.
Likewise, your writing assignments are designed to give you experience with different
approaches to writing. You will not simply write “essays.” Different assignments will ask you to
work on specific techniques, make specific types of arguments, and engage both critical and
creative parts of your mind. Because this course is designed to be an advanced writing course,
we will emphasize writing as a process. Many assignments are designed in stages, with
opportunities for revision along the way.
It is always my hope to get people excited about literature. It is also my expectation that, over
the course of the term, you will become more thoughtful about what it means to read and write
about literary texts.
ENGL
272
IntroductiontoLiteraryCriticism
ENGL
302
3Credits
YvetteKoepke
TuTh11:00Ͳ12:15
3Credits
SherylO’Donnell
TuTh2:00Ͳ3:15
ThiscourseintroducesstudentstotheBritishworldͲsystemfromtheturnofthe19thcenturytothepresentday.
Wewillcloselyexploreformalandstylisticelementsoffourmajorliterarymovements:romanticism,realism,
modernism,andpostmodernism,makingconnectionswithsomepoliticalandculturalantagonismswhich
accompanyandunderwritetheseaestheticinnovations.Whataretheconnectionsbetweenromanticismand
revolution?HowaregothicandlyricformsrecognizablyVictorian?Whydoesparanoiadriverealism?Political
commitment?HowdoesmodernismturnawayfromVictorianvalues?Iscatastrophenecessarilypostmodern?
RequiredTexts
ThreePDFpackets:Romanticism,Victorians,The20thCentury
AnthonyBurgess,AClockworkOrange(Norton)
JosephConrad,HeartofDarkness(PenguinClassics)
VirginiaWoolf,Mrs.Dalloway(HoughtonHarcourt)
Weeklywritingassignments,alongerpaper,andfrequentjournalresponsestoreadingsandfilms.
Whatiftherearenotexts?Areauthors"dead"?Isrealityconstructed?Wheredoouridentitiescome
from?Wewilldebatetheseandotherfascinating,crucialquestionsaswesurveymajorstrainsofcritical
theory,orwaysofthinkingabouthowtheworldworks.Thiswillhelpyouunderstandyourcourseworkin
alargercontextanddeepenyourabilitytoanalyzetextsusingvariousapproaches.Atthesametime,this
classisalsoaboutrecognizinghowandwhyyoualreadythinkinthewaysyoudo,andwhatthesocialand
politicalimplicationsofthoseviewsare.Criticaltheorygivesusasharedvocabularytotalkaboutwhatwe
doasreadersandwritersoftexts,asthinkers,andashistoricalandculturalsubjects.Itchallengesusto
makemorethoughtfulchoicesasmembersofacademicandsocialcommunities,enablesustorevisitour
basicassumptionsandvalues,andhelpsustryoutnewwaysofthinking.
SurveyofEnglishLiteratureII
ENGL
304
SurveyofAmericanLiterature(1865ͲPresent)
ENGL
308
3Credits
SheilaLiming
MWF1:00Ͳ1:50
3Credits
KimDonehower
TuTh9:30Ͳ10:45
The“AmericanRenaissance,”asscholarFOMatthiessenoncelabeledit,issupposedtohavetakeplacein
themiddleofnineteenthcentury,from1850Ͳ55.Thisperiodhasbeenrepeatedlycharacterizedasthe
penultimateblossomingofAmericanintellectualandartisticachievement.Thischaracterization,though,
ignoreslargergeopolitical,social,andculturalfactorsthatchallengesuchalabel:America’sjourney
towardsgeopoliticalsignificance,andthesimultaneousdevelopmentofitsculturalforms,didnottruly
begintogathersteamuntilafter1900.Infact,Matthiessencoinedtheterm“AmericanRenaissance”in
1941,onlymonthsafterAmericannewspapermogulHenryLucehadpopularizedtheterm“TheAmerican
Century”withreferencetothemodernera.
ThiscoursefulfillstheEssentialStudiescategoriesofFineArtsandAdvancedCommunication,andthe
EssentialStudiesgoalofWrittenCommunication.
Thiscourseconcernsthecraftofessaywriting,whichincludesgenressuchasmemoir;travel,food,and
sportswriting;andliteraryjournalism,amongothers.Wewillreadessaysbyprofessionalwritersand
eachothertoanalyzethetechniquesandstylesthatcontributetoasuccessfulessay.Individually,insmall
groups,andasawholeclass,wewillidentifyandcultivatethestylisticandrhetoricalmovesthatproduce
engagingandenlighteningcreativeessays.Youwillhavelotsofchoiceoftopicsandgenrestoreadand
writeabout,andmuchsupporttohelpyoustretchandgrowasawriter.Thisclasspresumesnoprevious
experienceincreativewritingandissuitableforanystudentofanymajorwhohascompletedUND’s100Ͳ
levelcompositionrequirements.
Thissurveycoursethus
beginsbyreadingAmerican
cultureaftertheCivilWaras
theinstrumentalmachinery
behindLuce’sconceptof
“TheAmericanCentury.”We
begininthelaterpartofthe
nineteenthcentury,studying
thedevelopmentand
progressionofvarious
literarymodeslikerealism,
naturalism,andmodernism.
Wethenturnourattention
tothemoderncenturyand,inparticular,totheliteratureandcultureoftheHarlemRenaissance,a
movementthathasattimesbeencontroversiallyregarded,contrarytoMatthiessen’sopinions,asƚŚĞ
Americanrenaissance.Fromherewewillprocesstowardsthe1950s,thehighpointof“PaxAmericana,”
studyingthewaysinwhichAmericanliteraturerespondstotheexpansionandinfluenceofmodern
technology.WewillthenconcludeatthedawnofthetwentyͲfirstcenturyandourconversationalfocuswill
shiftfrommodernismtopostͲmodernismasweattempttounderstandtheliteraryandculturallandscape
oftheUnitedStatestoday. Studentscanexpecttogainathematic,formal,andhistoricallycontextualizedunderstandingofAmerican
literatureandculturefrom1865tothepresentthroughthiscourse.Theycanalsoexpecttodevelopand
honetheircriticalthinkingskillsthroughshortessaysandotherwrittenassignments,andtoidentify
variousstyles,themes,andconventionsinAmericanliteraturethroughidentificationexams.
TheArtofWritingNonfiction
ENGL
308
TheArtofWritingNonfiction
ENGL
308
3Credits
RebeccaWeaverͲHightower
MWF9:00Ͳ9:50
TheArtofWritingNonfiction
3Credits
SharonCarson
TuTh12:30Ͳ1:45
Thissectionof308hasaspecialfocusonnarrativejournalismasaformofliteraryandartisticnonͲfiction.
Wewillbeworkingonprojectswhichallowyoutoexperimentwithanddevelopyourvoiceasa
thoughtfulinterpreterofcurrentevents.Ourworktogetherwillincludethreemainprojects:1)writing
aboutwar;2)writingabouttheartsasawaytocomposeyourownsocialcommentary;3)writingabout
anexperienceinwhichyouplaceyourselfinacircumstanceunfamiliartoyou(DavidRakoffwillbeour
musehere).Youwillbeabletodesignprojectsbaseduponyourowninterestswithinthesethreebroader
frames.Youwillworkhardonyourownwriting,withmuchrevisionandprojectfineͲtuning.
ThiscoursefulfillstheEssentialStudiescategoriesofFineArtsandAdvancedCommunication,andthe
EssentialStudiesgoalofWrittenCommunication.
Wewillcritiquewrittennarrativejournalism(includingworksproducedfornewmedia),andwewill
analyzesomeinterestingworksoffilm/videodocumentaryandaudiodocumentary.WewillreadͲor
watchͲorlistentoͲͲworksbyAmericanandinternationalwriters.
Studentswhoareespeciallyinterestedin
multiͲmediaformsofnarrativenonͲfictionwill
havetheoptiontoresearch,writeandproduce
theirownshortexperimentalpieces.Wewill
notbeworkingonvideooraudioproduction
methodsintheclass,butwewillworkcritically
withnewmediaasaperformancespacefor
literaryandnarrativenonfiction.
Thiscourseisintendedforstudentswhowanttobetterunderstandcreativenonfiction,toimprovetheir
ownwriting,andtohavefunexercisingthecreativepartsoftheirbrain.Whetheryou’reasophomorewho
wantsbettergradesonpapersoraseniorwhohasambitionsofbecomingaprofessionalwriter,thegoalof
thecourseistomakeeverystudentastronger,moredescriptiveandthoughtfulwriter.Tothatend,we
willreadalotofgoodwriting,willreadĂďŽƵƚgoodwriting,andhopefullywilldosomegoodwriting
ourselves.Wewillspendalotoftimeinworkshop,readingeachother’draftsandgivingadvice—bothto
honeourskillsasreadersandtohelpourfellowwriters.Wewillalsopracticetheartofrewriting(and
rewritingandrewriting)inordertoimproveourfinalproduct.Finally,wewillwritepiecesreflectingonour
ownwriting,criticallyexaminingourindividualvoice,style,andpractice.
Thiscourse’sfocuswillbethecreativeessay.Wewillread“creative”essaysbynotedwritersandwillwrite
ourownmasterpiecesmodeledonwhatwe’rereadingandanalyzing.Bysemester’send,youwillhave
producedthreepolishedessays:eitherapersonalnarrativeorbiographicalsketch,anopinionorreflective
essay,andanessayeitherdescribingaplaceoranhistoricalevent.Wewillalsospendagoodamountof
timeworkingonstylisticskills,tryingtomakeourwritingsmoother,morepowerful,andmoreeffectiveon
thesentenceandparagraphlevel.Coursegradingwillcomefromthethreeformalessays,fromdaily
writingprompts,andfromgradesonparticipationinclassandinworkshops.
Thecourseisanexcellentopportunitytowork
seriouslyonyourownwritingandyourcapacityfor
activeresearchandsustainedcriticalthoughtabout
interestingquestions.Itisespeciallywellsuitedfor
studentswhoareinterestedinwritingaboutcurrent
events,communitypolitics,socialissuesandthearts.
Inadditiontotherequiredbooksforthecourse,we’ll
workwithnumeroushandouts,documentaryfilms,
audioclips,journalismandnewmediaprojectwebsites.
Thecourserequiresnopreviousexperiencewith
journalisticwriting,anddoesnotrequireexpertisein
currentsocialissuesorevents.Itdoesrequireserious
interestinthesethings,andawillingnesstoworkhard.
ENGL
316
Shakespeare
ENGL
359
3Credits
AdamKitzes
TuTh9:30Ͳ10:45
3Credits
LoriRobison
MWF10:00Ͳ10:50
ThisisanEssentialStudiescourseandwillcounttowardsyourdistributionrequirementinHumanities.
Shakespearehastobeseenasmorethansimplya“majorauthor.”Anestablishedplaywrightinhisownlifetime,his
famehasenduredforcenturiesandextendedacrosstheworldpopulation;hehasbecome,ineffect,aculturalicon.
Aswewouldexpect,hisfamehasundergonecountlesspermutations.PartofwhatmakesShakespearesoenduringis
hisadaptabilitytodifferentcultural(orideological)needs.HehasbeentakenattimesasthesymbolofBritish
imperialismandculturalhegemony,atothertimesasthefigureofradicalrevolution;heinvokesdetailedarguments
fromphilosophersofallschools,evenashisimageisreproducedonteeͲshirts,coffeemugs,playingcards,andother
knickknacksandgewgaws.Librariesandbookstoresarefilledwithhisbooks,makinghimperhapstheonlybestselling
authornevertowriteabookforpublication;andhisplaysaremorepopularinperformancethantheyeverwerein
hisownlifetime,eventhoughwehavevirtuallynothingincommonwiththeculturethatheinhabited.
Thiscourseis
designedtohelp
studentsmake
senseofthis
massivefigure,both
asaplaywrightand
asaculturalicon.To
thatend,wewill
spendtimegetting
toknowtheplays,
selectingamonghis
wellͲknownaswell
assomeofhis
overlookedgems.
Wewillreadand
writeaboutthose
plays.Butwealso
willtakesometime
experiencingthese
playsindifferent
forms,comparingdifferentprintandfilmversions,makingnoteofappropriations,andexploringfeaturesthatarenot
necessarilypickedupfromtextualanalysisalone.
ThiscourseisdesignedforallUNDstudents.Englishmajors,theatermajors,andcuriousͲmindedindividualsare
welcomeoneandall.Thatsaid,theexpectationsarehigh.Wewillread,onaverageandwithsomevariations,one
playeverytwoweeks.Takeitforgrantedthatyouwillreadeachplaycarefully,andmorethanonce.(Theweekly
scheduledoesnotspecifyreadingassignments,butIwillassumethateverybodyhasfinishedeachplayweare
coveringbythesecondscheduleddiscussionday,respectively.)Thereareanumberofwritingassignments,eachof
whichasksyoutoexaminetheplaysfromdifferentperspectives.Everybodywillbeexpectedtobeinvolvedinclass
discussions,participateinactivities,andmakeonesemiͲformalpresentationonatopicrelatedtothemajorthemes
oftheclass.
YoungAdultLiterature
Literaturewrittenforadolescentsiswildlypopularrightnow:thesebooksregularlyshowuponbestseller
lists;criticallyͲacclaimedauthorsarewritingforthisaudience;andmanyadultsarewillingtoidentify
themselvesasavidfansoftheTwilightseriesandtheHarryPotterbooks.
Clearly,somethingisgoingon,andthisiswhatwewillexploreinthisclass.Whatarethesetextsgivingto
theirreaders?Whatstory,aboutgrowingup,aboutindividuality,andabouthowwecometodecidewho
wewanttobecome,dothesetextstell?
Wewillbeginbyreadingacoupleofnovelsthatmightbestbecategorizedaschildren’sliteratureinorder
togiveusaworkingdefinitionofYoungAdultLiterature.Wewilldiscusssomeclassicadolescentnovelsto
furtherrefineourdefinitionofthisgenrebeforewemoveintoaconsiderationofseveralrecentͲͲandvery
popularͲͲyoungadultnovels.
Thereadinglistisnotyetcomplete,butitwilllikelyincludethefollowing:CharlieandtheChocolate
Factory,ABadBeginning,TheChocolateWar,oneoftheHarryPotterbooks,Twilight,TheHungerGames,
ANorthernLight,Speak,KingDork,andTheAbsolutelyTrueDiaryofaPartͲTimeIndian.
ENGL
369
LiteratureandCulture:“Science/Fiction”
ENGL
408
3Credits
CrystalAlberts
TuTh12:30Ͳ1:45
3Credits
DavidHaeselin
MWF1:00Ͳ1:50
͞΀d΁ŚĞŝŶƚĞůůĞĐƚƵĂůůŝĨĞŽĨƚŚĞǁŚŽůĞŽĨǁĞƐƚĞƌŶƐŽĐŝĞƚLJŝƐŝŶĐƌĞĂƐŝŶŐůLJďĞŝŶŐƐƉůŝƚŝŶƚŽƚǁŽƉŽůĂƌŐƌŽƵƉƐ΀͙͘΁
>ŝƚĞƌĂƌLJŝŶƚĞůůĞĐƚƵĂůƐĂƚŽŶĞƉŽůĞͶĂƚƚŚĞŽƚŚĞƌƐĐŝĞŶƚŝƐƚƐ΀͙͘΁ĞƚǁĞĞŶƚŚĞƚǁŽĂŐƵůĨŽĨŵƵƚƵĂů
ŝŶĐŽŵƉƌĞŚĞŶƐŝŽŶͶƐŽŵĞƚŝŵĞƐ;ƉĂƌƚŝĐƵůĂƌůLJĂŵŽŶŐƚŚĞLJŽƵŶŐͿŚŽƐƚŝůŝƚLJĂŶĚĚŝƐůŝŬĞ͕ďƵƚŵŽƐƚŽĨĂůůůĂĐŬŽĨ
ƵŶĚĞƌƐƚĂŶĚŝŶŐ͘͟
ThisEssentialStudiescapstonecoursefulfillsthedistributionrequirementinHumanitiesandAdvanced
Communication.
Thereportsofreading’sdeathhavebeengreatlyexaggerated;mostreadingtodayjusthappenstobedone
onascreen,notinprint.Inthiscourse,wewillconfrontthisrealityheadͲonbyexperimentingwithwritingŝŶ
andĨŽƌdigitalplatforms.Assignmentsfortheclassmayincludebuildingapersonalwebsite,designingan
infographic,filmingavideoproductreview,andwritingasocialmediarelease,amongothers.
…orsoclaimedC.P.Snow—chemistandnovelist—inhis(in)famouslectureatCambridgeUniversityin1959entitled
“TheTwoCulturesandtheScientificRevolution.”Hisdeclarationssparkedadebate,attimesveryheated,which
continuestoday,over55yearsafterthefact.Itcanbeheardinquestionslike:shouldeducationprimarilyfocuson
theSTEMfields?Shouldwepromotealiberalartseducation?Whyshouldscientistscareaboutthearts&
humanities?Whyshouldartists/humanistscareaboutthesciences?But,perhapsamoreinterestingquestionis:
whathappenswhen“thetwocultures”cometogether,communicate,andcollaborate?
Inlinewiththe47thAnnualUNDWritersConference“TheArtofScience,”thisclassaimstostartbridgingthegap
(perceivedoractual)betweenSTEMandtheArts&Humanitiestofindoutwhathappenswhenthoseworldscollide.
Toaccomplishthisgoal,wewillstartwithSnow’sthought,atthetime,thatitwas“bizarrehowverylittleof
twentiethͲcenturysciencehasbeenassimilatedintotwentiethͲcenturyart.”Since1959,numerousAmericanauthors
ŚĂǀĞincorporatedscienceintotheirfiction(andnonͲfiction)fromneurosciencetoquantumphysicstoartificial
intelligencetoenvironmentalconservationandbeyond.Wewillnotonlyreadsomeoftheseliterarytexts,butwe
willalsotouchonthescientificresearchandculturethatinformsthem.
Studentsinthiscoursewillbeexpectedtoparticipateregularlyinclassdiscussions,aswellaswriteafewrelatively
short,argumentativeessays.TheywillalsoberequiredtoattendportionsoftheUNDWritersConference,whichwill
takeplaceApril6Ͳ8,2016.Informationaboutthisyear’sauthorsisavailableatwww.undwritersconference.org.
Inthespiritofcrossingdisciplinaryboundaries,this
classhasnoprerequisitesandwelcomesallstudents,
regardlessofmajor!
^ŽŵĞƉŽƐƐŝďůĞƚĞdžƚƐŝŶĐůƵĚĞ͗
tŽŵĂŶŽŶƚŚĞĚŐĞŽĨdŝŵĞ(1976),MargePiercy
ŝŶƐƚĞŝŶ͛ƐƌĞĂŵƐ(1993),AlanLightman
'ĂůĂƚĞĂϮ͘Ϯ(1995),RichardPowers
dŚĞDĂŶtŚŽDŝƐƚŽŽŬ,ŝƐtŝĨĞĨŽƌĂ,Ăƚ(1998),
OliverSacks
&ŽƌƚLJ^ŝŐŶƐŽĨZĂŝŶ(2005),KimStanleyRobinson
<ĂƉŝƚŽŝů(2010),TeddyWayne
dŚĞŝĨĨĞƌĞŶĐĞŶŐŝŶĞ(2011),WilliamGibson&
BruceSterling
dŚĞdƵƐŬdŚĂƚŝĚƚŚĞĂŵĂŐĞ(2015),TaniaJames
AdvancedComposition:WritingforDigitalEnvironments
ThisclassisnotonlyforEnglishmajors,butanystudentwhowouldliketolearnnewtechniquesfor
producinganddistributingtheirwriting.Likewise,theprojectsforthiscoursedonotpresumeadvanced
technologicalliteracy,buttheywillrequirestudentstopracticenewskillsanddevelopnewproficiencies.
Learningtowritein“mediumͲspecific”wayswillhelphoneyourwritingforprofessionalcontextsand/or
graduateschoolbyencouragingyoutocommunicatetonewaudiencesinavarietyofdifferentmedia
formats.
ENGL
414
TheArtofWriting:Fiction
ENGL
415
3Credits
ElizabethHarris
Tu5:00Ͳ7:30pm
3Credits
ChrisNelson
MWF11:00Ͳ11:50
Thiscoursewillbeconductedmainlythroughclassdiscussionandpeerreview.Studentswillread
publishedstoriesandoneanother’sfiction;studentswillwritethreestoriesandcarefullyrevisesomeof
thisworkforafinalportfolio.Studentswillalsowritea“flashfiction.”Whilegraduatestudentsmaytake
thisclass,they’reencouragedtotake516instead;undergraduateswhohavehadEng.306mayenroll.
HowisAsianͲAmericanliteraturetoberead?What
doestheterm“AsianͲAmerican”evenmean,and
howiseach“side”ofthattermweightedamong
“insiders”and“outsiders”?Formany,theterm
signifiesahistoryofexclusionfromU.S.citizenship
andthushasbecomeaninstrumentforpolitical
mobilization.Forothers,thetermissimplyoneof
manyusedbytheU.S.governmenttocategorizeand
thuserasedistinctionsbetweenvastlydifferent
individualculturesandaninventedcollective.This
course,then,willexaminethebuildingofAsian
Americanliterarytraditionalongsidetheemergence
ofAsianͲAmericanpoliticalandculturalidentities
fromthelatenineteenthcenturythroughthe
present.HowhaveU.S.relationswithAsiaoverthe
lastcenturyinthecontextsofcolonialism,
imperialism,immigration,andwarshaped
representationsofAsiaandAsiansintheUnited
States?Howhavechangingimmigrationpatternsand
intergenerationalconflictsaffectedAsians’
positioningasinvisibleminorities,modelminorities,
andperpetualaliens?Whatgenresandformshave
definedtheemergenceofAsianAmericanwriting,
andwhatistherelationshipbetweenartandpolitics
inminoritywriting?Inansweringthesequestions,we
willalsoexaminethecriticalmodelsusedtoread
AsianAmericanliterature,consideringespeciallyhow
theinherentdemographicandideological
heterogeneity,hybridity,andmultiplicityofAsian
Americanliteratureandculturehasbeenpositioned
withinapotentiallyproblematictheoreticalparadigm
ofresistanceversusaccommodation;whatversionsofAsianAmericanhistoryareusedtoanchorliteraryanalysis
andwhy;andhowappropriatetextsandcontextsaredetermined.Andwewillexploreculturalintersections:How
doestheliteratureattempttorecoverlosthistoriesanddisentangleAsianAmericanliteratureandculturefrom
Orientalistexpectations?HowdoesAsianAmericanliteratureoffernewperspectivesandunderstandingsofrace,
gender,andsexualitywithin,through,oragainstan“American”lens?Whateffectsdolargerracialandsexual
stereotypes,fromCharlieChantoJackieChan,fromthedocile,seductiveAsianwomantoFaMuLan,haveon
representationsofAsianAmericanbodies?WorkforthecoursewillincludefrequentinͲclasswritings,threepapers,
andfacilitatingclassdiscussion.
Text:
TheArtoftheStory:AnInternationalAnthologyofContemporaryShortStories,DanielHalpern,Ed.
Studentswillberequiredtomakecopiesoftheirsubmissionsfortheclass.
SeminarinLiterature:AsianͲAmericanLiterature
ENGL
415
SeminarinLiterature:DifficultyinEnglishPoetry
ENGL
415
3Credits
MichaelBeard
MWF12:00Ͳ12:50
3Credits
SheilaLiming
W5:00Ͳ7:30pm
Thereadingsaredifficult;that’stheappealofthecourse.We’llaskwhatmakesthemthatway.Are
theredifferentkindsofdifficulty?Whatarereaderssupposedtodowhentheyrunintoit?Wewon’task
whetherdifficultyisagoodthingornot;weknowthatmajorpoetsoftendecidetobeopaqueorevasive,
andwehavetoacceptthatdecision.
Whenwesayofchildrenthattheyarebeingdifficultitmeansthey’rebehavingbadly.Whenapoetdoes
itweoftenthingthat’sjustpartofthejob.Whenachildactsdifficultweusuallysaythey’rehungryor
tired,perhapsthey’rejustspoiled.Whenapoetisdifficultweassumetherearegoodreasons.We’ll
read,carefully,slowly,poemswhicharedifficultindifferentwaysandhopetofindreasons.
Thecoursehasacenter:we’llbe
spendingmostofourtimereading
WallaceStevens,whosepoetryis
influential,muchadmired,lyrical,
complexandfamouslydifficult.
Therearereaderswhoconsiderhim
thegreatestpoetofthe20th
century.(Yourteacherisoneof
them.)Readingasmuchofhis
completeworksaswecanwillbeat
thecenterofthecourse.He’llstill
bedifficult,butnotous.
“Whetheritbeintheformofavideogameoramusical,”observescriticLindaHutcheon,“anadaptationis
likelytobegreetedasminorandsubsidiaryandcertainlyneverasgoodasthe‘original.’”Thiscourse,
whichsurveysavarietyofexamplesofnarrativeadaptation(storiesadaptedfromtextforadditionalmedia
formats,likefilm),seekstogetattheheartofHutcheon’scomment.WhyĚŽwetendtoseethebookas
“betterthanthemovie”?Whatqualitiesandconsiderations–likeauthorship,context,interiority,
aesthetic,andstyle–informourpreferenceforoneversionofatextoveranother?
Inthiscourse,wewillcollectivelyassessa
rangeofnarrativeadaptationsinavariety
ofmediaformats.Wewillstudy,for
instance,supposedly“faithful”filmic
adaptations,workingfromoriginalliterary
sourcestounderstandhowfilmslike
dƌĂŝŶƐƉŽƚƚŝŶŐ(1996)and'ŽŶĞ'ŝƌů(2014)
adaptaspectsoftheirstoriesinorderto
appealtodifferentaudiences.Likewise,we
willconsiderhowsomedirectorstake
libertiesininterpretingtheirliterarysource
material,studyinghowauteurfilmmakers
likeStanleyKubrickandTerryGilliam
translateliteraryworkstothescreen.Our
studiesofnarrativeadaptationwillnotbe
confinedtobooksandmovies,though.In
thesecondhalfofthecourse,using
narrativeaccountsofWorldWarIIasa
primarycasestudy,wewillworkthrougha
rangeofnarrativaladaptationsthatwill
includeyoungadultliterature,film,
videogames,graphicnovels,andmusic.In
doingso,wewillbecraftingawebof
connectionsbetweentextslikedŚĞŝĂƌLJŽĨ
ŶŶĞ&ƌĂŶŬ,ArtSpiegelman’sDĂƵƐ,Don
DeLillo’stŚŝƚĞEŽŝƐĞ,theĂůůŽĨƵƚLJ
videogamefranchise,andShostakovich’s
SymphonyNo.7(“Leningrad”).Our
explorationsinthisveinwillbeunderscored
bytheoreticalandcriticalreadingsthat
investigatethenatureofadaptationandits
associatedforms,includingparaͲand
intertextuality,satire,sequel,andtranslation.
Readings:
JohnAshbery,SelectedPoems
(Penguin)
MarianneMoore,CompletePoems
(Penguin)
WallaceStevens,SelectedPoems,
ed.JohnN.Serio(Knopf)
WilliamBlake,America:AProphecy
&Europe:AProphecy(Dover)
MetaphysicalPoetry,ed.
ChristopherRicks(Penguin2006)
SeminarinLiterature:NarrativeAdaptation
ENGL
418
SecondLanguageAcquisition
ENGL
501
3Credits
XiaozhaoHuang
TuTh11:00Ͳ12:15
TeachingCollegeEnglish
3Credits
KimDonehower
W2:00Ͳ4:30
Thiscoursefocusesonsecondlanguagelearningandteachingonthebasisoffindingsfromrecentsecond
languagelearningresearch.TopicsincludehowL2learnersacquiregrammaticalmorphemesofEnglish,
pronunciation,andvocabulary;differentprocessesinusingsecondlanguage;languageinput;second
languageteachingstyles;andseveralimportantmodelsinsecondlanguageacquisition.Course
requirements:takeͲhomeassignmentsandexaminations.
Prerequisite:English209orpermissionfromtheinstructor
RequiredTextbook:
V.Cook(2008).SecondLanguageLearningandLanguageTeaching.4thed.London:HodderEducation
TeachingCollegeEnglishfamiliarizesstudentswithavarietyoftheoriesandpedagogicalmodelsthat
influencetheteachingofliterature,creativewriting,andcompositionatthecollegelevel.Bytheendof
thecourse,studentsshouldbeabletoarticulateanumberofdifferentapproachestotheteachingof
collegeEnglishandsupporttheirparticularstancesontheseapproaches.Studentswillalsogainsome
backgroundinresearchonliteracyacquisitionincollegeͲagedstudents.
ENGL
511
ProblemsinLiteraryCriticism:QueerTheory
ENGL
516
3Credits
YvetteKoepke
Tu5:00Ͳ7:30pm
3Credits
ElizabethHarris
W5:00Ͳ7:30pm
Workshop:WritingFictionandTranslatingFiction
ThiscoursewillbebothafictionandafictionͲtranslationworkshop.Inotherwords,theclasswillbring
togethertwogroupsofwritersexploringsurprisinglysimilartopics:thecreationoffictioninEnglish.We
willallreadessaysonliterarytranslationanddoalittleworktiedtofictiontranslation(youwillnotneed
asecondlanguagetodoanytranslationexercises).
FluidSexualities:What’sQueeraboutQueerTheoryandLiterature?
Shakespeare’smostfamouslovesonnetswerewrittentoaman:Washe(orhisspeaker)gay?Bisexual,
sincehewasmarriedandhadchildren?Whatdoesthetitleofhisplay“AsYouLikeIt”mean,whenyoung
menfallinlovewithboyactorsportrayinggirlsdisguisedasboys?How“fluid”issexuality,andwhat’s
“queer”?AphraBehn’spoemsaboutlovingtwo“equally”?OrJohnDonne,whowantedGodto“ravish”
him?OrtheinfamouscrossͲdressingMollCutpurse,orthelibertineRochester,orthe“matchlessOrinda”
whosefamerestedonherpassionatepoemstosoulͲmate“Lucasia”?Thisclasswillusequeertheoryand
literaturetointerrogatethecategoriesusedtodefinesexandsexualityͲͲͲwhileenjoyingsomeofthebest
(andsexiest)lovepoetryeverwritten.Queertheoryandgenderstudieshasbecomealeadingareaof
contemporaryintellectualwork,withfarͲrangingimplicationsforquestionsofidentity,language,and
culture.LikeShakespeare,figureslike(Judith)Butleror(Michel)Foucaultneednofirstnames,andtheir
influenceextendsbeyondaparticularacademicarea.
Allgraduatestudentsarewelcome,includingthosewhohavehadnopriorexperienceinwritingfiction.
UndergraduateswhohavehadEng.414maybeconsideredforpossibleenrollmentinthisclass.All
students—graduateorundergraduate—interestedinpursuingthetranslationoptioninthisclassmust
haveastrongbackgroundinasecondlanguage;thesestudentswillneedtocontactmeinordertoenroll.
REQUIREMENTS:
x
x
x
Threesubmissionsoforiginalstories(10Ͳ15pgs.each)ortranslationsoffiction(5Ͳ7pgs.each).
ͲFictionwriterswillalsobeaskedtosubmitastorythatisstronglyinformedbyaworkof
international(translated)fiction(thisisn’trequired,butastrongsuggestion).
Arevisionofoneofthesesubmissions.
Therearenotexts,butstudentswillberequiredtomakecopiesoftheirsubmission.
ENGL
532
SeminarinAmericanLiterature:TransnationalLiterature
ENGL
598
3Credits
SharonCarson
Th3:30Ͳ6:00pm
PortfolioWorkshop
3Credits
EricWolfe
MW3:00Ͳ4:15
Hereissomephrasingfromthe2015callforpapersfortheAmericanStudiesAssociationofTurkey’s37th
InternationalConference,quotinga2004talkbyAmericanscholarShelleyFisherFishkin:
“[Thetransnationalturn]inAmericanStudiesasadiscipline…takesthetransnational,ratherthanthe
national,asitspointofdeparture.Suchanapproach‘notonlyensure[s]the‘multidirectionalflowsof
people,ideas,andgoods,’butwouldalsogenerate‘social,political,linguistic,cultural,andeconomic
crossroads’thatwouldenrichourunderstandingofAmericaanditsglobalimpact.Overthepastdecade,
scholarsaroundtheworldhavetriedtodefine“TransnationalAmericanStudies.”Overall,ithasbeen
characterizedasafieldthattranscendsbordersandmerecomparativeapproachesbyrecognizingbias,
especiallyofUSͲbasedAmericanists.ThisapproachalsoinvolvesrecognizingtheworkofAmericanists
beyondthebordersoftheUnitedStates,acknowledgingthattheyhavejustasmuchtocontributeto
AmericanStudiesasthosewithinitsborders,andthatsomeoftherichestareasofresearcharelocated
abroad…Moreimportantly,however,thisapproachsimultaneouslystressesthattransdisciplinarityand
transnationalismare,bynecessity,mutuallyinclusive.Itassertsthefundamentalideathatinorderto
understandthewaysinwhichtheUnitedStatesfunctionsglobally,onemustcomprehendits
internationalsocial,cultural,economic,politicalandhistoricexpressionsandformulations.This
conferencewishestoexploretheconceptof
transnationalismbyfocusingonitscontributions
toAmericanStudiesoverthepastdecade,its
usefulnessasanacademicframework,its
continuingimpactonthefield(throughnew
scholarship)anditsscholarship,andits
limitations.”
BythetimewebeginourseminarinJanuary,the
conferenceinTurkeywillhaveconcluded,but
wewillworkinthisseminartocritiqueanumber
oftheseissuesrelatedto“thetransnational
turn”inAmericanliteraryandculturalstudies.
Criticalandphilosophicalreadingsarestilltobe
determined,butwewillusetwonovelsas
touchstoneworksforourcollaborativecritical
inquiry:InvisibleMan(RalphEllison)andThe
TimeRegulationInstitute(AhmetHamdi
Tanpinar).Studentswillalsodevelopalonger
essayprojectrelatedtotheirowninterestsand
intellectualcommitments.
Thiscourseisdesignedtofurtherexploretherhetoricalstrategiesofacademicwritinginthedisciplineof
EnglishandtosupportstudentsthroughthedevelopmentofthePortfolioproject.
Artist:PaulKlee
ENGL
599
SpecialTopic:FormandTheoryofPoetryinEnglish
3Credits
HeidiCzerwiec
TuTh2:00Ͳ3:15
Thiscourseisdesignedtofamiliarizeyouwiththebasicstructuralelementsofpoetry,andwiththemain
theoriesthathaveshapedpoetry.Wewillbeginbyreadinganddiscussingthevariousmajordefensesof
poetryafterPlato,andaskwhypoetryneedsdefenseatall.Wewillthenturntoanexaminationofthe
majorpoeticformsusedbylyricpoetswritinginEnglish,includingtraditionalforms(sonnet,ode),
alternativeforms(syllabics,blues),andopenforms.WewillbeginthissecondsectionwithashortminiͲ
courseonbasicprosody,thenmoveontodiscussthevariousforms(theirfunctions,history,and
examples),andevenwriteinsomeoftheseforms(asexercises,notasacreativewritingworkshop).
Thisisnotacreativewritingclass–all
graduatestudentswhoplantoteach
poetryatanypointintheircareersare
stronglyencouragedtotakethisclass;
however,graduatestudentsintending
todothesis/dissertationworkin
creativewritingand/orpoetryshould
takethiscourse.Courseassignments
consistoftwoshortpapersonthe
criticalreadings;apresentationonone
oftheformgroups;andforeachform
groupstudiedduringthesecondhalfof
theclass,youwilleitherwritean
analysisofapoem,orwriteapoemin
thatform.Asaresulttherearealotof
weeklyreadingandwriting
assignments,butnofinalprojector
paper.
Requiredtexts:
LoftyDogmas.Ed.Brown,Finch,and
Kumin.Fayetteville:UofArkansasP,2005.
Fussell,Paul.PoeticMeter&PoeticForm.
(Anyeditionyoucanfindisfine.)
Strand,MarkandEavanBoland.The
MakingofaPoem.Norton:2000.
Sidney,Philip.ADefenseofPoetry
(alternatelytitledAnApologieforPoetry–
anyeditionyoucanfindisfine.)
Beaucoupsofhandouts