Spring 2006 Courses

NOTE: Courses are subject to change depending on enrollment and faculty teaching assignments. Please check BANWEB for more current information on the availability of all courses.

English 1101 and 1102 are prerequisites for all courses from ENGL 2110 through 4386.

A “W” designation after a section number of a 3000- or 4000-level course signifies that the course is a Writing Across the Curriculum (WAC) course. WAC accepts as a guiding principle the idea that writing is a valuable tool for learning and communication. Therefore, the components of a course so designated are designed to help you learn the material and communicate what you have learned. Students are required to take two “W” courses for the undergraduate degree.



XIDS 2100

XIDS 2100-02: Modernism, Prof. Angela Insenga
MWF, 8:00am-8:50am, Pafford 204

Satisfies Area C1 of the core.

Description: Born in 1923, close to the height of Modernism, American author Norman Mailer would look back over two decades later and ruefully note, “ The sickness of our times for me has been just this damn thing that everything has been getting smaller and smaller and less and less important, that the romantic spirit has dried up, that there is no shame today. We're all getting so mean and small and petty and ridiculous, and we all live under the threat of extermination.” Indeed, many British, American, and Irish Modernist artists looked around them and felt everywhere a bleakness that pervaded—a sickness of spirit. Even a sidelong glance at almost any definition of Modernism provides us with descriptors that match Mailer’s sentiments. Modernism is “fragmentary”; it “divides,” “alienates,” and “dislocates”; and it is a “period of immense uncertainty.” During a time of such great advancement in all social, artistic, and philosophical arenas, what could have caused such backlash, such pessimism? What did Modernists have against modernity? How did their creations reflect dissatisfaction with their world and the desire to fashion a new one? Our course seeks to answer these and other questions through an examination of several types of art objects created during the Modernist era.

Texts: F. Scott Fitzgerald, The Great Gatsby; Ernest Hemingway, The Short Stories; James Joyce, Dubliners; Katherine Mansfield, The Garden Party and Other Short Stories; Chris Rodrigues, Introducing Modernism; Gertrude Stein, Tender Buttons; Virginia Woolf, Mrs. Dalloway Online course pack: W.H. Auden, selected poetry; T.S. Eliot, selected poetry; Dorothy Parker, selected short stories and poetry; W.B. Yeats, selected poetry

Requirements: Mid-term and final examination (40%); Daily reading quizzes (20%); Five page, major-specific Modernism paper/project (15%); 10 minute presentation on the major-specific paper/project (10%); Five cultural events (15%)

XIDS 2100-03: The Monstrous and the Grotesque, Prof. Stacey Carter
MWF 11:00am-11:50am, Humanities 206

Satisfies Area C1 of the core.

Description: This class will discuss the genre of the macabre in both literature and film. We will begin with a survey of gothic fiction including works by Ann Radcliffe, Mary Shelley, Bram Stoker, Robert Louis Stevenson, and Edgar Allen Poe which will lead into a discussion of the modern horror film.

Texts: Frankenstein, Dracula, and Dr. Jekyll and Mr. Hyde and The Portable Poe.  We will also be watching films such as American Psycho and Silence of the Lambs

Requirements: 3 (3 pgs. typed) out-of-class responses, a group presentation, a midterm in-class essay, and a final exam

XIDS 2100-05: What Do You Really Know About Myth and Religion?, Prof. Lori Lipoma
MW 2:00pm-3:15pm, Pafford 302

Satisfies Area C1 of the core.

Description: Hercules, Sundiata, Thor, Gilgamesh-- these exciting heroes leap to mind when we think of mythology, yet myths are more than just stories of deities and fantastic beings from other people’s religions. They are simultaneously the most particular and the most universal feature of civilization, and they help each of us understand and face common concerns as well as aspire to new heights; indeed, Joseph Campbell calls mythology “the wonderful song of the soul’s high adventure.”
In XIDS 2100 “Myth and Religion,” we’ll study common themes throughout world myths and religions—including creation, birth and death, great floods, initiation, hero, cosmology, deities, and transformation myths—as they appear in the rich traditions of cultures worldwide. Moreover, we’ll hear from speakers who will tell us about the world religious traditions which they practice, including Hinduism, Judaism, Buddhism, Christianity, Baha’i, African Traditional Religion, Wicca, Islam, and Zoroastrianism.

Texts: Leeming, David Adams. The World of Myth. Oxford UP, 1992, and coursepack.

Requirements: include reading quizzes and unit tests, 2 response essays, and active, informed participation in each class session.

XIDS 2100-06: The Creative Process, Prof. Kelly Whiddon
TR 11:00am-12:15pm, TLC 1116

Satisfies Area C1 of the core.

Description: In this course, we will explore the process of creativity in the arts. We will examine the following questions: What makes an object a work of art? How do artists create? What do artists use as inspiration? What is the definition of “creative,” and how does one garner the skills necessary to be creative? Is creativity inherent in an individual?

Not only will we address the philosophical tenets of creativity, on a more practical level, students will use what they have learned to create their own art (through writing, the visual arts, or music). We will focus primarily on creativity as it applies to fine arts genres, but students will be encouraged to carry the lessons of the class into the broader area of their daily lives.

Texts: Mihaly Csikszentmihalyi, Creativity : Flow and the Psychology of Discovery and Invention; Frank Barron, Alfonso Montuori, Anthea Barron, Creators on Creating (New Consciousness Reader)

Requirements: Quizzes, daily readings and exercises, attendance at five cultural events, final creative project, midterm, and final.

XIDS 2100-08: Postmodern Experimentalism, Prof. Gwen Davidson
TR 3:30pm-4:45 pm, TLC 1301

Satisfies Area C1 of the core.

Description: The Wizard of Oz is an important “myth for our time.” After a lengthy and perilous journey, Dorothy and friends finally arrive in Oz to meet the wizard. Upon their reception, “they are suitably terrified and impressed—until Dorothy’s dog Toto pulls away the curtain to reveal that behind the awe-inspiring machinery is nothing but an ordinary man” (Walter Truett Anderson, Reality Isn’t What It Used to Be). The need for such an Oz-type quest is often present in contemporary art and literature, where it adheres to a postmodern skepticism. As a result, human constructs and matrixes subvert the hero’s drive to unravel mysteries and confirm the fantastic—or sometimes simply to find closure. Instead, the extraordinary becomes the ordinary, oftentimes creating absurdities. We will discuss these tendencies, focusing on the various experimental techniques that contemporary artists use to transcend notions of reality. We will explore these postmodern expressions in literature, film, television, art, and music (1950-present).

This course will also provide an introduction to Postmodernism as a philosophical movement and explore the postmodern state of our contemporary consciousness. In order to understand the advent of postmodernity, our discussion will begin with an overview of Modernism.

Texts: Walther Truett Anderson, Reality Isn’t What It Used to Be: Theatrical Politics, Ready-to-Wear Religion, Global Myths, Primitive Chic, and Other Wonders of the Postmodern World; Italo Calvino, If on a Winter’s Night a Traveler; Additional Course Packet

Requirements: two essays, writing responses, exams, oral presentation

XIDS 2100-09: Arts and Ideas: Representing American Womanhood, Prof. Lucy Curzon
Suffragettes to Slayers: Representing American Women in the Twentieth Century
TR 2:00pm-3:15pm, Pafford 105

Satisfies Area C1 of the core.

Description: Through the analysis of representations in literature, music, film and television, and the visual arts, this course examines the range of identities (and associated gender ideologies) connected with American women from the early twentieth century to present day. Our studies will investigate historical figures such as “the New Woman,” “the suffragette,” and “the flapper,” as well as more contemporary ones, including Xena Warrior Princess and Buffy the Vampire Slayer.

Texts: Modern American Women: A Documentary History, 2nd Edition, Susan Ware (McGraw-Hill, 2002; ISBN 0072418206); Bitches, Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes (Penguin Books 2003) ISBN: 0142001015; Articles and/or excerpts from other works as handouts/PDFs

Requirements: Mid-term and final exam, one analytical paper and presentation, listserv responses, consistent participation in class, and attendance at five cultural events.

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ENGL 2000
ENGL 2000-01: American Speech, Prof. David Newton
MWF 1:00pm-1:50pm, Humanities 209

May count for credit in Core Area B.

Description: In this course we will investigate some of the speech communities or dialects that comprise the English language in America. We will learn some of the basic principles and concepts that inform the study of language (or linguistics). We will also examine the history of language in America and identify some of the socio-historical conditions that have given our native language its remarkable diversity and social complexity. Finally, we will explore how individuals negotiate the expectations of different speech communities they belong to—both personal and professional—and how the evaluation of speech differences (our own, as well as others) in our professional work and personal lives is informed by historical, social, cultural, educational, economic, and political conditions. Consequently, this course will emphasize the practical as well as the theoretical applications of language and speech analysis. The course will teach students how to give formal speech presentations, and it will help them to become more aware of how judgments about language affect their ability to communicate successfully with others.

Texts: Kovecses, American English (Broadview Press, 2000); Bauer and Trudgill, eds. Language Myths (Penguin Books, 1999). Other shorter works will be assigned from electronic (online) editions or placed on reserve in the library.

Requirements: Active participation in class activities, assignments, and discussions; 4 formal public speaking presentations; and 3 examinations.

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ENGL 2050
ENGL 2050:  Self-Staging: Oral Communication in Daily Life, Profs. Lori Lipoma and John Sturgis
Section 01 (Lipoma):  MWF 9:00am-9:50am,  Pafford 307
Section 02  (Lipoma):  MWF 10:00am-10:50am,  Pafford 307
Section 03 (Sturgis):  TR 12:30pm-1:45pm, Pafford 105
Section LCQ (Sturgis): TR 11:00am-12:15pm, Pafford 105

May count for credit in Core Area B.  Same as THEA 2050.

Description: Effective communicators are more productive, have enhanced career opportunities, enjoy more fulfilling relationships, earn more respect, and have more fun!   The good news is that you already have the tools you need to become a great communicator; it’s just a matter of learning how to use them consciously and masterfully…in other words, learning how to “self-stage.” 

In Self-Staging: Oral Communication in Everyday Life, we will study and practice practical communication skills—creativity, quick thinking, risk taking, lateral thinking, active listening, subtext mastery, self-awareness—and apply them to virtually every interaction you encounter outside the classroom:  One-on-One Conversations, Public Presentation, Debate and Argumentation, Conflict Resolution and Confrontation Skills, Stress Management, Team Building, and Impression Management.   By the end of the semester, students will have had first-hand experience in all of these areas, and, more importantly, will know exactly how to continue honing and perfecting those skills long after.

Requirements:  formal solo presentations, group projects and presentations, panel discussions/debates, vocabulary-building exercises, role-playing and improvisation exercises, journaling, and, of course, active, informed participation in each class session.

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ENGL 2110
ENGL 2110-01:  World Literature, Prof. Lori Lipoma
Reading the Dark Side
MWF 12:00pm-12:50pm, Humanities 209

Required for English majors.  May count for credit in Core Area C.

Description: Why do bad things happen to good people?  How do we account for—or even define—good and evil?  Is ours, in fact, the best of all possible worlds…and what narratives do we create when we find that it isn’t?   In World Literature:  Reading the Dark Side, we’ll explore these unrelenting questions, and examine the many ways in which mankind has perceived, explained, and coped with adversity since we were first able to express our deepest hopes and fears in written form.

Texts:  TheEpic of Gilgamesh;  Goethe, Faust; Aeschylus, Prometheus Bound; Voltaire, Candide; Dante, The Inferno; Soyinko, Death and the King’s Horseman; Frankl, Man's Search For Meaning.  Supplementary course pack will include excerpts from The Egyptian Book of the Dead, The Bhagavad Gita, the Tao Te Ching, Homer’s Odyssey, Virgil’s Aeneid,  Plato’s Apology and Phaedo, The Koran, The Bible, John Milton’s Paradise Lost, Lu Xun, Oswalde de Andrade, and Mark Twain’s Letters from the Earth.

Requirements:  Reading journal, two analytical essays, midterm and final exams, and informed, active participation in class discussions.

ENGL 2110-02: World Literature, Prof. Micheal Crafton
MW 5:30pm-6:45pm, Humanities 209

May count for credit in Core Area C.

Description: The purpose of this course is to survey literary and cultural documents from around the world, starting with the earliest extant materials to the modern period. Although we shall try our best to view these documents in a historical or political context, we will be hard pressed to be very detailed due to the astonishing breadth of this survey. As we attempt a view of the influence of socio-political history on aesthetic patterns, we will also be concerned about the development of literary structures that have greatly influenced contemporary culture, structures such as the epic, tragedy, comedy, and lyric poetry.

Text: The Norton Anthology of World Masterpieces, single volume edition, edited by Maynard Mack (Norton, 1997). ISBN: 0393971430

Requirements: Normally, two short papers, some sort of oral presentation, a mid-term, and a final are required.

ENGL 2110-25H: World Literature-Honors, Prof. Chad Davidson
MW 3:30pm-4:45pm, TLC 2237

For Honors students only.  Required for English majors.  May count for credit in Core Area C.

Description: While functioning primarily as a survey of world masterpieces in literature, this course will also focus on the ways texts and the cultures from which they spring have dealt with myths of the underworld and how those myths inform the way we think about life, death, and beyond. Using Dante’s Inferno as a pivotal text, we will look at classical and contemporary representations of the underworld as they appear in literature. Central to our exploration will be the concept of the hero’s journey, the quest for spiritual enlightenment, the fascination with sin, and the notion of justice (both the divine and the figuratively medieval).

Texts: Achebe, Things Fall Apart; Aeschylus, The Oresteia ; Dante, Inferno; Dostoevsky, Notes from Underground; Epic of Gilgamesh; Homer, The Odyssey; Hrabal, Too Loud a Solitude; Kafka, The Metamorphosis; Machiavelli, The Prince; Virgil, The Aeneid; Voltaire, Candide; plus various handouts from the Hebrew and Christian Scriptures, the Apocrypha, Baudelaire, and others to be distributed in class.

Requirements: Daily critical responses and participation; two critical papers; a mid-term and final exam. Students will also take part in various group video presentations on works to be discussed in class.

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ENGL 2120
ENGL 2120-01: British Literature, Prof. Robert Snyder
MWF 1:00pm-1:50pm, Humanities 206

Required for English majors. May count for credit in Core Area C.

Description: This course surveys major texts of British literature, ranging from Beowulf to the present, while addressing the complex question of why certain literary forms or genres predominate during various historical periods. In addition to becoming familiar with seminal British authors, therefore, we will try to understand both the defining characteristics of the modes in which they wrote as well as the cultural factors that contributed to the emergence and appeal of the forms associated with these writers’ achievement. In particular, we will be concentrating on the dream-vision, pilgrimage narrative, autobiographical confession, sonnet, dramatic tragedy, epic, satire, lyric, ode, dramatic monologue, fictional narrative, and absurdist play. We also will be discussing why these canonical texts and authors matter.

Text: The Norton Anthology of English Literature (Major Authors), 7th edition

Requirements: Active participation in class, brief reading quizzes, two analytical papers (5-6 pages each), midterm exam, and final exam.

ENGL 2120-02: British Literature, Prof. Emily Hipchen
TR 9:30am-10:45am, Humanities 209

May count for credit in Core Area C.

Description: TBA

Texts: TBA

Requirements: TBA

ENGL 2120-25H: British Literature-Honors, Prof. Nina Leacock
TR 2:00pm-3:15pm, TLC 1204

Honors students only. May count for credit in Core Area C.

Description: This survey traces a tradition that is "ours" in a wonderfully complex way. As Americans, we study British Literature for reasons of both political history and language tradition that we share with English-language readers on every continent. Paradoxically, "our British past" connects us to a contemporary global culture that is equally ours. In this course, we will read exemplary texts from the major periods (Anglo-Saxon to Modern and Post-modern) as "belonging" to both past and present, not forgetting to consider the processes of literary periodization and canon formation that make this possible.

Texts: Likely texts include The Norton Anthology of British Literature: The Major Authors and two short novels, probably Northanger Abbey (Austen) and To the Lighthouse (Woolf).

Requirements: Active participation, reading quizzes and exams, class presentations, and analytical essays.

ENGL 2120-26H: British Literature-Honors, Prof. Margaret E. Mitchell
TR 12:30pm-1:45pm, TLC 1204

Honors students only. Required for English majors. May count for credit in Core Area C.

Description: Our sweeping survey of British literature will take us from the medieval poem Beowulf to Doris Lessing’s novel The Grass Is Singing. Rather than pursuing a strictly chronological path, we will move swiftly back and forth across the centuries, juxtaposing important works of literature from all the major periods in unconventional and suggestive ways. We will look for connections, patterns, and trends that enable us to begin to define a national literature, paying attention to the historical and political contexts out of which these texts arose. Throughout the history of British literature we will trace a preoccupation with the social order: how it is established and maintained, what threats it faces, and to what extent the existing order may be challenged. We will pay attention to how the social order is represented in these works, and consider its relationship to the literary works that not only reflect it but arguably both reinforce and undermine it.

Texts: King Lear, Shakespeare; Moll Flanders, Daniel Defoe; Dubliners, James Joyce; The Grass is Singing, Doris Lessing; The Columbia Anthology of British Poetry, Ed. Woodring and Shapiro.

Requirements: Quizzes, two 5-page essays, oral presentations, occasional response papers, mid-term, final exam.

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ENGL 2130
ENGL 2130-01:  American Literature, Prof. Mitzi McFarland
MW 2:00pm-3:15pm, Pafford BonnerB

May count for credit in Core Area C.

Description: TBA

Texts: TBA

Requirements: TBA

ENGL 2130-02: American Literature, Prof. Randy Hendricks
TR 2:00pm-3:15pm, Humanities 209

May count for credit in Core Area C.

Description: In this class we will devote much of our time to reading, discussing, and writing about such classic texts in American literature as Franklin’s Autobiography, Hawthorne's The Scarlet Letter, Douglass’s Narrative of the Life of Frederick Douglass, Thoreau’s Walden, Whitman’s and Dickinson’s poems, Twain’s Adventures of Huckleberry Finn, Fitzgerald’s The Great Gatsby, Eliot's The Waste Land, and more. Reading the texts in whole or in part, we will focus on the way in which they, through their forms, themes, and language, echo and even parody each other as they record a cultural/literary debate on the issue of American identity with its related questions of what constitutes an American self, society, and attitudes toward nature. We will use the examples to work toward a definition of the qualities beyond “written in America” that make a work of literature “American.” Additional readings from the anthology will supplement the primary ones.

Texts: The Norton Anthology of American Literature, Shorter Sixth Edition, ed. Nina Baym, et. al. The Great Gatsby, by F. Scott Fitzgerald. The Scarlet Letter, by Nathaniel Hawthorne.

Requirements: Active participation in class meetings; three short papers; research (term) paper; midterm and final exams.

ENGL 2130-25H and 2130-27H: American Literature-Honors, Prof. Debra MacComb
(Section 25H) MW 2:00pm-3:15pm, TLC 1204
(Section 27H) TR 11:00am-12:15pm, TLC 1204

For Honors students only.  Required for English majors.  May count for credit in Core Area C.

Description: This course will develop a range of enduring themes that have characterized American literature: the encounter with and appropriation of nature; the crafting of an identity that attempts to reconcile the desires of the individual with the needs of society; the individual’s ability to chart his own path to success; the “problem” of the socio-cultural “other”; and the tension between the public and private spheres. In exploring these themes, we will read a variety of canonical and non-canonical texts to examine the authorial strategies that developed over time which make these works aesthetically as well as historically pertinent.

Texts: Franklin, The Autobiography; Foster, The Coquette; Douglass, Narrative of the Life; Hawthorne, The Scarlet Letter; Twain, Adventures of Huckleberry Finn; Chopin, The Awakening; Jewett, The Country of the Pointed Firs;  Fitzgerald, The Great Gatsby; Hurston, Their Eyes Were Watching God; Miller, Death of a Salesman; DeLillo, White Noise; Mason, In Country; Morrison, Jazz.

Requirements: Informed and regular class participation, two short response papers (3 pages each), one longer paper (5-6 pages), a “conference” presentation to the seminar; a cumulative final exam.

ENGL 2130-26H: American Literature-Honors, Prof. Barbara Brickman
TR 9:30am-10:45am, TLC 2237

Honors students only. May count for credit in Core Area C.

Description: This survey of important works in American literature will address several issues central to the conception of “American” identity: the encounter with and/or exploitation of the natural world; the quest for an independent, unified, and/or original self; the differentiation of the self from a series of “others” (or the production of “otherness”); and the conflicts and negotiations between social demands and values and the individual self. The readings for the course will consist of both canonical texts, such as The Scarlet Letter, and texts challenging the mainstream, such as Jean Toomer’s Cane. Furthermore, four cinematic texts, Last of the Mohicans (Mann, 1992), Lone Star (Sayles, 1996), Do the Right Thing (Lee, 1989), and The Virgin Suicides (Coppola, 1999), will complicate and complement the class’s literary instances of “Americanness.”

Texts: Benjamin Franklin, The Autobiography; Harriet Jacobs, Incidents in the Life of a Slave Girl; Nathaniel Hawthorne, The Scarlet Letter; Walt Whitman, Leaves of Grass; Mark Twain, The Adventures of Huckleberry Finn; Henry James, Daisy Miller; Sherwood Anderson, Winesburg, Ohio; F. Scott Fitzgerald, The Great Gatsby; Jean Toomer, Cane; Thomas Pynchon, The Crying of Lot 49; Toni Morrison, The Bluest Eye; Maxine Hong Kingston, The Woman Warrior

Requirements: Three short response papers, in-class quizzes and oral presentation, a midterm and a final essay exam.

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ENGL 2180
ENGL 2180-01: Studies in African-American Literature, Prof. Teresa Jones
TR 2:00pm-3:15pm, Pafford 307

May count for credit in Core Area C.

Description: In keeping with Toni Morrison’s observation that any study of American Literature, music, or life that fails to take into account African-American literature, music, and life is “incoherent,” we will study representative texts that span the African-American literary tradition and that can be, by periods, characterized by themes of protest, celebration, assimilation, and recovery: Literature of Slavery and Freedom (1746-1865); Literature of Post-Civil War, Emancipation (1865-1920); Harlem Renaissance (1920-1940); World War II and After (1940-1960); Literature of the Black Arts Movement (1960-1970); Post-Integration Period (1970-present). We will explore the relevant social, historical, and aesthetic contexts of these literary works as well as the implications of theoretical and critical approaches to such literature.

Texts: Gates, Norton Anthology of African-American Literature, 2 nd ed; Hurston, Their Eyes Were Watching God; Morrison, Song of Solomon;

Requirements: Attendance, Preparation, and Participation; Reading assignments; Reading Questions; Response Papers; a midterm and a final exam; a research project (10-12 pages) that seeks to identify an African-American aesthetic that characterizes a period of African-American literature and locates it within both an on-going African-American social experience and an on-going literary tradition.

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ENGL 2190
ENGL 2190-01: Studies in Literature by Women, Prof. Bonnie Adams
Resistance and Revision: Studies in Literature by Women
MWF 11:00am-11:50am, Humanities 208

May count for credit in Core Area C.

Description: Why study literature by women? Although the literary canon has evolved significantly over the past thirty years, there remains much yet to be uncovered in the female voice. How, then, do we set about exploring this terrain? As Ellen Moers notes, “By some accidental or willed critical narrowness, we have routinely denied ourselves additional critical access to [major female writers] through the fact of their sex – a fact surely as important as their social class or era or nationality, a fact of which women writers have been and still are conscious. How, as human beings, could they not be?”

We will, then, approach the literature in this course through the lens of the female experience itself. Beginning with Virginia Woolf, we will first examine those writers whose work centers upon not only finding their distinctly female voices, but expressing them as well. We will move then to an examination of the treatment of the female body and female sexuality: How do women writers represent their own bodies and sexuality? How does the biological fact of their female bodies influence their writing?

Finally, we will examine what Joseph Boone refers to as the “countertraditional voices” in literature by women – those texts whose premise runs decidedly counter to the traditional structure of narrative, which deems marriage the ultimate (and often, the only) end for the female protagonist. Through a discussion of works spanning from medieval (Julian of Norwich and Margery Kempe) to contemporary culture (Bushnell’s Sex and the City), we will consider how these women writers raise their voices against marriage, whether through uncovering the misogynist principles inherent in the traditional structure of marriage, or through simply advocating alternative choices which prove ultimately more satisfying. At the conclusion of our unit on countertraditional voices, we will discuss Zora Neale Hurston’s classic Their Eyes Were Watching God.

Our class will culminate in an examination of two seminal works: Charlotte Bronte’s Jane Eyre and Kate Chopin’s The Awakening. We will discuss each text in light of the writer’s revolutionary/revisionist treatment of the issues we’ve deconstructed this semester: the female voice, sexuality, and marriage.

Texts: The Longman Anthology of Women’s Literature. Ed. Mary K. DeShazer. ISBSN 0-321-01006-X; Jane Eyre. Charlotte Bronte. Ed. Beth Newman. ISBSN 0-312-09545-7; Their Eyes Were Watching God. Zora Neale Hurston. ISBSN 0-06-093141-8.

Requirements: 2 short essays (3-4 pages each), midterm and final exam, 1 longer research paper (5-6 pages)

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ENGL 2300
ENGL 2300-01: Practical Criticism: Research and Methodology, Prof. David Newton
MWF 9:00am-9:50am, Humanities 209

Required for the major in English as a prerequisite to upper-division study. Registration requires permission (contact Susan Holland). Not offered during summer session.

Description: Practical Criticism is designed to prepare you for the intensive reading, writing, and critical thinking you will encounter in your major courses. Your professors who teach upper-level English courses assume that you have completed this course successfully and are familiar with the theoretical terminology, critical methods, and approaches to research and writing that this course introduces. Consequently, this course will focus on several interrelated areas that form the basis of scholarly inquiry within the field of literary studies: critical theory, literary interpretation, research methods, and analytical writing. Our reading of a variety of literary works—poems, short stories and one novel—will be informed by a variety of theoretical perspectives—including (but not limited to) formalism, varieties of postructuralism, reader-oriented theories, gender studies, and cultural poetics—that will provide you with the analytical skills you need to examine intelligently the content, structure, historical context, and social construction of literary works. You will be expected to participate in this dialogue between literature and critical theory; that is, the course will help you discover how different theoretical approaches can strengthen your own critical voice as a scholar and writer. Consequently, this course is writing intensive, and you will encounter a variety of writing assignments ranging from short written response papers and critical essays to a longer research paper.

Texts: Bressler, Literary Criticism: An Introduction to Theory and Practice. 3 rd ed. Prentice-Hall, 2002; Hawthorne, The Scarlet Letter: A Case Study in Contemporary Criticism. Ed., Ross Murphin. 2 nd ed. Bedford / St. Martin’s, 2005; Gibaldi, MLA Handbook for Writers of Research Papers. 6 th ed. MLA, 2003; Baldick, The Concise Oxford Dictionary of Literary Terms. Oxford, 2001. Other shorter works will be assigned from electronic (online) editions or placed on reserve in the library.

Requirements: Active participation in class discussions; in-class writing/editing assignments; in-class presentations; reading quizzes; 3 analytical essays, representing different theoretical approaches; midterm and final exams on theoretical terminology and methods, and a final 8 page research paper (with prospectus).

ENGL 2300-02: Practical Criticism: Research and Methodology, Prof. Tom Dvorske
Literary Theory in the High School
MW 3:30pm-4:45pm, Humanities 205

Education Students Only. Required for the major in English as a prerequisite to upper-division study. Registration requires permission-Contact Susan Holland. Not offered during summer session.

Description: In the first half of this course, we will establish a foundation in representative critical approaches to literary studies and demonstrate an active vocabulary of important literary terms as we apply these terms and approaches to selected texts. In the second half, we will build on this foundation with the added dimension of research and methodology applied to texts commonly found on high school reading lists. We will examine these texts from multiple theoretical perspectives, including the cultural theory of childhood studies and discuss the possibilities for teaching critical theory in the high school classroom.

Texts: Bertens, Hans. Literary Theory: the Basics (Routledge, 2001); Harmon & Holman, A Handbook to Literature (10 th ed. Prentice-Hall, 2006); Gibaldi, Joseph. MLA Handbook for Writers of Research Papers (6 th ed. MLA, 2003); Conrad, Joseph. Heart of Darkness: A Case Study in Contemporary Criticism (Ed. Murfin, Ross. 2 nd Ed., Bedford-St. Martin’s, 1996); Achebe, Chinua. Things Fall Apart (Anchor Books, 1994); Kincaid, Jamaica. Annie John (FSG, 1997); Golding, William. Lord of the Flies (Mass Market, 1959).

Requirements: Quizzes, Analysis Papers, Research Project, Presentation, Final Exam.

ENGL 2300-03: Practical Criticism: Research and Methodology, Prof. Gregory Fraser
TR 5:30pm-6:45pm, Humanities 208

Required for the major in English as a prerequisite to upper-division study. Registration requires permission-Contact Susan Holland. Not offered during summer session.

Description: This course is designed to introduce students to various schools of literary theory as well as to the art of critical analysis. In the first half of the term, we will test our growing awareness of the current critical landscape by studying Elizabeth Bishop’s “In the Waiting Room” and Joseph Conrad’s Heart of Darkness, both of which lend themselves to a range of analytical perspectives (formalist, postcolonial, deconstructive, feminist, Marxist, and others). We will then investigate Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and Lorraine Hansberry’s A Raisin in the Sun, both of which will help us respond in greater depth to many of the questions intrinsic to contemporary reading and interpretative practices.

Texts: Literary Theory: A Very Short Introduction, Jonathan Culler; Heart of Darkness, Joseph Conrad; “The Rime of the Ancient Mariner,” Samuel Taylor Coleridge; A Raisin in the Sun, Lorraine Hansberry.

Requirements: Two analytical essays of at least five pages in length; periodic quizzes and homework assignments; final research paper of at least ten pages in length; final portfolio of revised essays accompanied by a substantive critical introduction.

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ENGL 3200
ENGL 3200-01W: Creative Writing, Prof. Tom Dvorske
Teaching Creative Writing in High School
MW 2:00pm-3:15pm, Humanities 209

Education students only. Registration requires English dept. permission. Contact Susan Holland. No more than two 3000-level courses may be counted toward the major in English. May be taken for 3 hours of WAC requirement.

Description: This course will begin as an in-depth study in creative writing craft. Students will learn to identify the importance of literary elements in the making of meaning, employ literary techniques in the crafting of their own work, and demonstrate the value of these techniques as expressive strategies. From this foundation, we will begin exploring different theories and methods of teaching creative writing in middle-grades and high school with attention paid to its interdisciplinary applications. As this is a workshop class, students are expected to share their work, their thoughts about others’ work, and their ideas about teaching and learning.

Texts: Burroway, Janet. Imaginative Writing: The Elements of Craft (Penguin Academics, 2003); McCloud, Scott. Understanding Comics. (Harper-Perennial, 1993); McCloud, Scott (Ed.) 24 Hour Comics. (About Comics, 2004).

Requirements: Portfolio of creative work, critical analysis papers, presentations, directed research missions.

ENGL 3200-02W: Creative Writing, Prof. Gregory Fraser
TR 11am-12:15pm, Humanities 209

No more than two 3000-level courses may be counted toward the major in English. May be taken for 3 hours of WAC requirement.

Description: In this introductory course, students will be encouraged to experiment in poetry, short fiction, play- and screen-writing, and creative non-fiction. We will make use of several practical writing strategies such as “riffing” on the work of published authors, putting characters on the witness stand, climbing the slanted ladder of specificity, and many more. In addition to reading and commenting on each other’s texts-in-progress, we will study the creative writings of established writers, thinking about how these authors respond to literary traditions while seeking to break new creative ground. Our primary goal will be to produce creative writing that tests the limits of language and stretches the imagination in unexpected ways.

Texts: Scribner Anthology of Contemporary Short Fiction, Martone and Williford, eds.; The Vintage Book of Contemporary World Poetry, J. D. McClatchy, ed.; The Best American Short Plays 1997-1998, Glenn Young, ed.; The Best American Short Plays 2000-2001, Mark Glubke, ed.

Requirements: Each member of the class will produce a final portfolio of his or her strongest work and compose a critical introduction situating that work in the larger contexts of contemporary creative writing. Students will take periodic quizzes, fulfill regular homework and peer-review assignments, and view several author videos outside of class.

ENGL 3200-03W: Creative Writing, Prof. Alison Umminger
TR 5:30pm-6:45pm, TLC 1204

No more than two 3000-level courses may be counted toward the major in English. May be taken for 3 hours of WAC requirement.

Description: This course provides an introduction to poetry and fiction writing, with attention to craft and revision. Using contemporary fiction and poetry anthologies, students will gain some basic familiarity with poets and short-story writers currently practicing their art. This should serve as an inspiration and springboard for their own writing, as good writers must also be good readers. The course will cover the building blocks of fiction and poetry: concrete language, dramatic situation, voice, meter, imagery, characterization, conflict, showing vs. telling, etc. Students will be writing and revising their own work weekly and should expect to produce a portfolio of work for review at the end of the semester.

Texts: Bowman, Catherine, ed., Word of Mouth; Cassill, Oates, eds., The Norton Anthology of Contemporary Fiction; Addonizio, Laux, The Poet's Companion; Leguin, Ursula, Steering the Craft.

Requirements: Each student will write 5-6 poems and revise them for the poetry section. For the fiction section, students will do a number of short exercises and write and revise one longer story (10-12 pages). There will also be a short paper and presentation on one of the poets in the Word of Mouth anthology. All students are required to be active participants in workshops.

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ENGL 3300
ENGL 3300-01W: Studies in American Culture, Prof. Joshua Masters
TR 12:30pm-1:45pm, Pafford 308

Same as HIST 3300. Required for the minor in American Studies. No more than two 3000-level courses may be counted toward the major in English. May be taken for 3 hours of WAC requirement.

Description: This course is an introduction to the field of American Studies, an interdisciplinary mode of critical inquiry into the various cultures, histories, and experiences that comprise “ America.” We will examine the theories and methods which define American Studies as an academic discipline, and we will apply a historically-based methodology to the reading of a wide range of texts: literature, film, historical documents, the visual arts, and material artifacts. Our topic for the semester will be The American West, specifically the idea of the frontier and its impact on the history, identity, and culture of various American identities. Our goal will be to understand the complex nature of the American West as a mythic structure, social process, and lived reality by examining its rich and deeply contested representational history. We will therefore look at a variety of texts that have the West as their subject, paying particular attention to the way that notions of race, gender, ethnicity, and class are treated in each.

Texts: The Legacy of Conquest, Patricia Limerick; The Virginian, Owen Wister; Blood Meridian, Cormac McCarthy; Ceremony, Leslie Marmon Silko; God’s Country, Percival Everett; (In addition, students will read a number of scholarly articles available on-line, and as a class we will assemble a database of visual images and cultural artifacts.)

Requirements: Students are expected to complete the day’s reading assignment in advance and come to class prepared to participate in discussion. Your final grade will be based on three short papers, a research paper, reading quizzes, an oral presentation, and a final examination.

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ENGL 3400
ENGL 3400-01: Advanced Composition, Prof. Emily Hipchen
TR 12:30pm-1:45pm, Humanities 209

May be taken for certification in Secondary English Education.

Description: TBA

Texts: TBA

Requirements: TBA

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ENGL 3405
ENGL 3405-01W: Professional and Technical Writing, Prof. Paula Patch
MW 2:00PM-3:15PM, TLC 1109

May be taken for 3 hours of WAC requirement. May be taken for certification in Secondary English Education.

Description: Professional and Technical Writing is an intensive, practical examination of ways to write audience-driven media in a variety of business, professional, and technical contexts. Major assignments are as follows: Individually, students will create and manage a “blog” on a topic of their choosing. In groups, students will create documents such as newsletters, press releases, and visual presentations for specific events and organizations. To develop the communications skills for these projects, students will learn how to write news articles, feature articles, and press releases, as well as formal business documents such as e-mails and memoranda. Moreover, students will learn to thoroughly edit and proofread these documents, ensuring they are error-free—an essential component of professional writing. At the end of the semester, each student will create a professional portfolio and oral presentation to showcase coursework completed during the semester.

Texts: Required: Markel, Mike. Technical Communication. 7 th ed. Boston: Bedford/St. Martin’s, 2004. Recommended: Maimon and Peritz, A Writer’s Resource; and/or a journalism style guide, such as The Associated Press Stylebook and Libel Manual or The New York Times Manual of Style and Usage.

Requirements: A weblog, daily reading and writing assignments, group project, professional portfolio, oral presentation. Personal attention to detail and ability to meet deadlines is essential.

ENGL 3405-02W: Professional and Technical Writing, Prof. Debra Bourdeau
TR 2:00pm-3:15pm, TLC 1109

May be taken for certification in Secondary English Education. May be taken for 3 hours of WAC requirement.

Description: The aim of this course is to prepare students for writing and designing documents in technical and professional discourse communities. Class will take place in a discussion or workshop format. Because writing in the workplace is often collaborative, come to class prepared to interact! Business writing is a form of communication, a type of conversation, an interactive process that involves writers and readers who respond to one another. In fact, business writings are documents that use description and explanation in order to persuade readers to take action. Consequently, effective writers in the business world must have:
- a clear understanding of the subject matter
- a thorough awareness of the intended audience(s)
- a strong mastery of the required business writing forms

This course is organized to cover the purposes and styles of business writing and to offer students a variety of focused writing exercises structured around scenarios or actual work situations. The class gives students an opportunity to learn and apply both writing and critical thinking skills. Because much work will be done in class, regular attendance is essential.

Texts: Handbook of Technical Writing (Alred, Brusaw, and Oliu)

Requirements: Students will learn to write business letters, memos, effective email, a job application package (including resume), minutes of a meeting, and accident/trouble reports. The final assignment will be a research project that begins with a proposal and culminates in a report with recommendations. In-class writing will be a component of the course. There will also be a group presentation.

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ENGL 4/5106
English 4/5106-01W: Studies in Genre, Prof. Maria Doyle
MW 3:30pm-4:45pm, Humanities 208

Required for Certification in Secondary English Education. May be repeated for credit as genre or topic varies. Students may enroll up to three semesters. May be taken for 3 hours of WAC requirement.

Description: This course will illuminate how theater texts function both as "drama"—as literary contributions to the evolution of ideas—and as "theater"—as living stage pieces that grow and transform through performance. Beginning with an exploration of the development of theatrical form—the historical evolution of the traditional "poles" of tragedy and comedy from classical Greece to the nineteenth century—the course will move on to examine a variety of modern and contemporary plays by writers like Tennessee Williams, Samuel Beckett, Wole Soyinka, Margaret Edson and Bertolt Brecht. Not only will these discussions introduce students to significant modern schools of drama (Theater of the Absurd, expressionism), but they will also highlight ways of thinking about how theater means by asking questions about performance spaces, audience expectations, and the value of gesture and staging in relation to language.

Texts: The Bedford Introduction to Drama(5 th Edition); Ibsen, Hedda Gabler; Edson, Wit; critical and secondary readings available on the course webpage

Requirements: Undergrads: Normally, 2-3 short response essays, 8-10 page research paper, oral presentation, midterm and final exams. Grad students: Normally, short response essay, annotated research bibliography, 12-15 page research paper, oral presentation, midterm and final exams.

ENGL 4/5106-02: Studies in Genre, Prof. Emily Hipchen
TR 5:30pm-6:45pm, Humanities 209

Required for Certification in Secondary English Education. May be repeated for credit as genre or topic varies. Students may enroll up to three semesters.

Description: TBA

Texts: TBA

Requirements: TBA

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ENGL 4/5108

ENGL 4/5108-01W: Studies in the Novel, Prof. Nina Leacock
The British Novel
TR 11:00am-12:15pm, Humanities 207

Students may take both the British and the American versions for credit. May be taken for 3 hours of WAC requirement.

Description: The novel is a modern, national-language genre, one which emerged without obvious classical predecessors. This genre thus offered the first British authors an unprecedented freedom, along with a special invitation to reflect on and contribute to the shaping of their own national language and culture. The efforts of British novelists over the past three hundred years have produced a tradition, not classical but modern and British, with which contemporary English-language novelists and novel-readers around the world have to reckon. After an introductory consideration of that contemporary world-wide readership, our study will proceed chronologically through five units: (1) The New World of the Novel, (2) The Novel and Romance, (3) Substantial Fictions and Victorian Ghosts, (4) For Experienced Readers Only: Modernist Experiment, and (5) The Empire Writes Back.

Texts: Likely texts include Home and Exile (Achebe); Robinson Crusoe. (Defoe); The Castle of Otranto (Walpole); Ivanhoe (Scott); Frankenstein (Shelley); Mansfield Park (Austen); Jane Eyre. (Bronte); Great Expectations (Dickens); and To the Lighthouse (Woolf).

Requirements: Active participation, reading quizzes and exams, short analytical essays, class presentations, and final research project.

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ENGL 4/5109

ENGL 4/5109-01W: Film as Literature, Prof. Barbara Brickman
American Independent Cinema
TR 3:30pm-4:45pm, Humanities 312

May be repeated for credit as topic varies. May be taken for 3 hours of WAC requirement.

Description: This course will examine the history and development of American independent cinema as well as the social, aesthetic, and industrial questions raised by that cinema. Debating the differences between “independent” and “mainstream” practices and products, the course will develop an understanding of production, distribution, and exhibition practices for both types of American film and discuss their inter-relations or interdependencies on each other. Issues relating to both formal components and innovations as well as narrative structures and devices will inform our discussion of the “independent” aesthetic. Finally, the end of the semester will be devoted to a few key filmmakers in the post-1980s incarnation of “independent” filmmaking who will act as case studies to illustrate points from our semester-long discussion. Possible films for the course include Within Our Gates, The Fast and the Furious (1954), A Woman Under the Influence, Shock Corridor, McCabe and Mrs. Miller, Illusions, sex, lies & videotape, Miller’s Crossing, Clerks, Reservoir Dogs, and Boys Don’t Cry.

Texts: Levy, Emanuel. Cinema of Outsiders: The Rise of American Independent Film; Merritt, Greg. Celluloid Mavericks: A History of American Independent Film

Requirements: Weekly postings to the discussion list, two short essays, a midterm, and a research paper and oral presentation

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ENGL 4/5120

ENGL 4/5120-01W: Seventeenth-Century British Literature, Prof. Micheal Crafton
MW 3:30pm-4:45pm, Humanities 209

May be taken for 3 hours of WAC requirement.

Description: Some of the most argued about poets in the twentieth century were from, oddly enough, the seventeenth century. Two that stand out are John Donne, favored by the New Critics, and John Milton, favored by so-called “myth” critics as well as such popularizers as C.S. Lewis. In this course we will read the poetry of these two as well as some of the critical controversy about their modern reputation and the poetry of their contemporaries: Robert Herrick, Andrew Marvell, Ben Johnson, George Herbert, Amelia Lanyer. This period of English literature witnessed one of the most profound political upheavals, a civil war and the execution of the king. We will attempt to trace those social crises in the poetry of the period.

Texts: The Cambridge Companion to English Poetry, Donne to Marvell ( Cambridge Companions to Literature) (Paperback) , Thomas N. Corns (Editor) ISBN: 0521423090; Seventeenth-Century Poetry: An Annotated Anthology (Blackwell Annotated Anthologies) (Paperback) R. M. Cummings (Editor), Rob Cummings (Editor) ISBN: 0631210660

Requirements: Short paper, oral report, mid-term, final exam, and a longer research-based essay.

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ENGL 4/5135

ENGL 4/5135-01W: British Romanticism, Prof. Dr. Robert Snyder
MW 2:00pm-3:15pm, Humanities 206

May be taken for 3 hours of WAC requirement.

Description: Years ago, while employed at a Seattle university and attending my oldest son’s baseball game, another parent asked what it was that I taught. Informed that among other things I tackled British Romanticism, she responded: “Oh, yeah. Hanging ten over the dark abyss.” Lacking quite her level of hyperbolic fervor, not to mention her capacity for overgeneralization, I evasively replied: “Well, yes and no.” This course essentially will explore the grounds for my ambivalent rejoinder. What is it about the poetry of William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, and John Keats, not to mention a host of lesser luminaries, that at once constitutes a profound repudiation of earlier cultural values, framed by the upheavals of the French and Industrial Revolutions, but also an uneasy transformation of—or rapprochement with—the same? Why, in short, does “Romanticism” have two faces? Because this literary “movement” is widely touted as a decisive shift in the direction of whatever we understand “modernism” to involve, it is not one that we blithely can ignore.

Text: Romanticism: An Anthology, ed. Duncan Wu, 3rd edition

Requirements: Active participation in class, two analytical papers (5-6 pages each), research paper (12-15 pages in text), midterm exam, and final exam. Because this is a WAC-designated course, undergraduates will also be expected to engage in a biweekly listserv discussion and collaborate in the online drafting of short papers. Graduate students, in addition to a longer research paper (16-20 pages), will be required to lead a class discussion of an assigned text.

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ENGL 4/5140

ENGL 4/5140-01W: American Romanticism, Prof. David Newton
MWF 11:00am-11:50am, Humanities 209

Fulfills the Literary History Requirement in American Literature I. May be taken for 3 hours of WAC requirement

Description: From a critical perspective, American Romanticism includes a wide range of literature, music, art, architecture, philosophical ideas, religious beliefs, and social movements that emerge during the earliest decades of the new republic and continue into the contemporary era. In this course, we will focus on American Romanticism during the first half of the nineteenth century. Beginning with Ralph Waldo Emerson and the literary figures who comprise the American Renaissance, we will explore the historical sources and philosophical ideas that contributed to the emergence of Romanticism—and the Transcendentalist movement in particular—in America. Further, we will trace how Romanticism influenced the development of new literary forms and perspectives in America, particularly in the writings of Edgar Allan Poe, Henry David Thoreau, Herman Melville, Walt Whitman, and Emily Dickinson. Finally, we will examine how romantic ideas about the nature of the individual and society influenced a variety of popular literary genres in America--such as the historical romance and the sentimental novel--and how it contributed to the formation and development of a variety social movements like abolitionism and women's struggle for equality. Reading works by Harriet Beecher Stowe and Harriet Wilson, we will explore how literary texts shaped the direction of social and political discourse in America during the nineteenth century.

Texts: Ralph Waldo Emerson, Selected Essays Lectures, and Poems; Henry David Thoreau, Walden; or, Life in the Woods; Harriet Beecher Stowe, Uncle Tom’s Cabin or, Life Among the Lowly; Harriet Wilson, Our Nig; or, Sketches from the Life of a Free Black; Edgar Allan Poe, Selected Poems, Stories, and Essays. Herman Melville, Moby-Dick; Walt Whitman, Leaves of Grass (1855); Emily Dickinson, Selected Poems. Other shorter works will be assigned from electronic (online) editions or placed on reserve in the library.

Requirements: For undergraduates, active participation in class discussions, reading quizzes, 2 critical response essays, midterm and final essay exams, and a 10 page research paper (with prospectus). For graduate students, all of the requirements listed above as well as an annotated research bibliography and a critically extensive 12-15 page research paper.

WAC Requirement: This is writing intensive course. Your response papers and other assignments involve writing-to-learn activities in which you will be using the writing exercise itself to come to terms with the material we have read. ALL of these written assignments should conform to the standards of college-level, academic writing. By successfully completing this course, you can receive WAC (Writing Across the Curriculum) credit toward graduation. The goals of WAC are to encourage students to use writing as a way to learn, to show students how to write effectively in their disciplines and to improve students' writing skills. All students majoring in disciplines in the School of Arts and Sciences are required to satisfy the WAC requirements for WAC to graduate: These requirements include at least two 3000/4000 level W courses for a total of 6 hours with at least 3 of these hours in the major. Additional WAC certification is also available. See the current undergraduate catalog for details.

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ENGL 4/5165

ENGL 4/5165-01W: Contemporary British and American Literature, Prof. Joshua Masters
TR 9:30am-10:45am, Humanities 208

May be taken for 3 hours of WAC requirement.

Description: This course examines poetry and fiction produced in the U.S. and British Isles during the last thirty years. Rather than basing the readings on a unifying theme or overarching concern, the course is broken into four interdependent sections that reflect some of the prevailing concerns of contemporary authors writing in the so-called “postmodern” era. Each section will include a pairing of fictional texts, five to ten relevant poems, and a film. These works demonstrate a wide a range of perspectives—black and white, male and female, British and American—and collectively they suggest new ways to imagine the status of the individual, the boundaries of nationhood, and the meaning of such categories as race, ethnicity, class, and gender. The required texts are listed beneath their subject heading.

Texts: “The Post-Nuclear Family”: The History of Luminous Motion, Scott Bradfield (copies provided by instructor); Cathedral, Raymond Carver; film: Todd Solondz’s Happiness. “The Intra-Textual Novel”: Moon Tiger, Penelope Lively; Erasure, Percival Everett; film: Spike Lee’s Bamboozled. “History, War, and Memory”: Blood Meridian, Cormac McCarthy; Time’s Arrow, Martin Amis; film: Jim Jarmusch’s Dead Man. “Imagining Apocalypse”: Parable of the Sower, Octavia Butler; TBA; film: Danny Boyle’s 28 Days Later.

Requirements: Students are expected to complete the day’s reading assignment in advance and come to class prepared to participate in discussion. Students must maintain a passing reading-quiz average, turn in several short writing assignments, a five-page paper, a ten-page research paper, and a final exam.

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ENGL 4170

ENGL 4170-01: African-American Literature, Prof. Stacy Boyd
20th Century African-American Literature
TR 11:00AM-12:15PM, Hum 208

Description: This course will examine major trends, authors, and texts central to the development of the twentieth-century African-American novel. Beginning with the New Negro Movement and moving chronologically to contemporary literature and culture, we will examine African American fiction and serial poetry. Indeed, the dynamics of inter-textual exchange—the ways in which texts invoke and revise previous works (the ways in which they “riff” on one another)—will also inform our analysis. And, of course, the ways in which texts derive meaning through extra-textual references and associations (African American music or folk culture for example) will also shape our reading of these texts and their places/roles in literary studies.

Texts: Possible Their Eyes Were Watching God, Zora Neale Hurston; Invisible Man, Ralph Ellison; In my Father’s House, Ernest Gaines; Maude Martha, Gwendolyn Brooks; Thomas and Beulah, Rita Dove; The Oxherding Tale, Charles Johnson; The Color Purple, Alice Walker; The Lord of Dark Places, Hal Bennett; The Blacker the Berry, Wallace Thurman.

Requirements: Normally, shorter response papers, presentations, a longer literature project, daily quizzes.

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ENGL 4/5188

English 4/5188-01W: Individual Authors, Prof. Maria Doyle
William Shakespeare
MW 2:00pm-3:15pm, Humanities 208

May be repeated for credit as topic varies. Shakespeare may be taken for up to six (6) hours, if topic varies, with department chair’s permission. May be taken for 3 hours of WAC requirement.

Description: Shakespeare’s characters are savvy about performance, whether embodied in the directorial ambition of Hamlet, the illusions of Prospero, the Machiavellian antics of Prince Hal or the mask of “honest” Iago. Shakespeare uses this awareness of performativity not only to comment on the complicated nature of human relationships but also to suggest the power of theater itself at a time when drama was considered a potentially subversive form of popular entertainment. This course will explore Shakespeare’s ability to manipulate the popular genres of his day – including romantic comedy, historical drama and revenge tragedy – considering particularly how genre and performance expectations influence a play’s ability to generate meaning. Discussions will familiarize students with conventions of the Renaissance stage as well as the surrounding political and social context and will consider the enduring – and complex – influence of Shakespearan drama on later literature.

Texts: include Shakespeare’s AMidsummer Night’s Dream, The Merchant of Venice, Henry IV (Part 1), Hamlet, Othello, King Lear, The Tempest and Thomas Kyd’s The Spanish Tragedy. Critical and secondary readings available on the course webpage

Requirements: Undergrads: Normally, 2-3 short response essays, 8-10 page research paper, oral presentation, midterm and final exams. Grad students: Normally, short paper, annotated research bibliography, 12-15 page research paper, oral presentation, midterm and final exams.

ENGL 4/5188-02W: Individual Authors, Prof. Randy Hendricks
TR 12:30pm-1:45pm, Humanities 208

May be repeated for credit as topic varies. Shakespeare may be taken for up to six (6) hours, if topic varies, with department chair’s permission. May be taken for 3 hours of WAC requirement.

Description: Though the terms shift periodically (“overvalued” in one decade, damned in another), William Faulkner continues to be the focus of much critical inquiry and debate. As part of this work, this course undertakes to ascertain the significance of Faulkner's fiction in terms of its aesthetic value, its relation to a cluster of American and modern themes, and its value as a cultural/historical seismograph. We will approach Faulkner through close readings of individual texts, through intertextual connections that define the fascinating body of his work. We will give some consideration as well to the extent of his influence on later writers. This course concentrates on revealing Faulkner's value as an artist whose aesthetic accomplishment is more fully discernible in the larger and sometimes complementary and sometimes contradictory contexts of American, modernist, and regionalist literary interests. Consideration of the history of Faulkner criticism will ground students in their own reading.

Texts: Vintage Classics editions of The Sound and the Fury, As I Lay Dying, Light in August, Absalom, Absalom!, The Hamlet, The Unvanquished, Go Down, Moses, and Collected Stories.

Requirements: Two short analytical papers, a midterm and final exam, research paper. Graduate students will write a more substantial research paper in lieu of the final exam and meet separately to discuss the results of their research.

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ENGL 4/5210

ENGL 4/5210-o1W: Advanced Creative Writing, Prof. Chad Davidson
W 5:30pm-8:00pm, Humanities 205

Prerequisite: ENGL 3200.  May be repeated for credit as topic varies.  May be taken for 3 hours of WAC requirement.

Description: This class will focus on the generation of poetic material through intensive, process-oriented strategies. More than merely creating works of art, we will be interested in designing and implementing a sustainable writing practice. Additionally we will study intimately a host of contemporary poets—including Robert Hass, Brigit Pegeen Kelly, Yusef Komunyakaa, Ruth Stone, and Adam Zagajewski—and contemporary poetics—including new confessionalism, neosurrealism, new formalism, and many others. Chief among the various student projects in the course will be a finished portfolio of poetry (including a critical preface and statement of aesthetics), an interview with a publishing poet of national standing; and a group video biography modeled after PBS’s Voices and Visions series.

Texts: Vintage Book of Contemporary American Poetry; Vintage Book of Contemporary World Poetry; Theroux, Alexander, The Primary Colors (Three Essays); and three poetry collections of the student’s choosing.

Requirements: Daily workshop responses and participation; memorization and recitation of at least 50 lines of poetry; reading journal; final portfolio with critical preface, author interview; and group video biography.

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ENGL 4/5300

ENGL 4/5300-01: Studies in the English Language, Prof. Micheal Crafton
History of the English Language
MWF 1:00pm-1:50pm, Humanities 208

Required for certification in Secondary English Education. May be repeated for credit as topic varies.

Description: Why do we spell might with a gh and yet we don’t pronounce it? What in the world does “Ye olde sworde shoppe” mean? If Shakespeare is not written in Old English, then what is? We shall answer a few of these and other questions in this a survey of the major periods of the development of the English Language from pre-Old English to Present Day English and some varieties therein. Some attention will be paid the basics of linguistic analysis and the relationship between language and social change. By the end of the quarter, students will understand: the basic concepts of comparative linguistics; the most significant external historical causes of change in the English language; the key internal changes in the history of English; the pronunciation of Old English and Middle English, at least well enough to teach high school students; the fundamental difference between the grammars of Old English and Modern English; the concept of dialect or variety in English; the difference between grammar and usage and the difference between prescriptive, descriptive, and scientific grammars.

Text: A History of the English Language 5 th edition (Paperback)
by Albert C. Baugh, Thomas Cable Routledge (2002)  ISBN: 0415280990

Requirements: A few short quizzes, a short response paper or two, a larger student project that will be research based and documented, and a brief oral presentation.

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ENGL 4384

ENGL 4384-01W: Senior Seminar, Prof. Debra MacComb
Marriage and the Form of Fiction
MW 5:30PM-6:45PM, TLC 2237

Required for all English majors.  Cannot be taken until ENGL 1101, 1102 and core area F have been completed with a minimum passing grade of C.  A minimum of 18 hours of upper-level English courses must also have been completed. Registration requires permission; contact Susan Holland.  Not offered during the summer session.  May be taken for 3 hours of WAC requirement.

Description: Because marriage is so central to both private and public life, it has served as a mainstay of literary representation, both as a thematic concern and as an organizing device. As Tony Tanner has observed, “marriage is the all-subsuming, the all containing contract. It is the structure that maintains the Structure,” of both society and literary expression. Joseph Allen Boone similarly notes the intersection of social and literary matters, arguing that the representation of romantic marriage serves as “the ultimate signifier of personal and social well-being,” while the stabilizing formal structures of linearity and closure which characterize such plots encode and reinforce the cultural ideal. Students in this seminar will examine the ways in which marriage—both as a social institution and as a structuring device—is represented in a range of literary texts, posing questions about the ways that such representations operate to reinforce, modify or subvert cultural ideals expressed in/by marriage: the equation of stability with permanence, the efficacy of hierarchical order and centralized power, the necessary separation of public and private spheres, and the polarization of gender roles.

Texts: Austen, Pride and Prejudice; James, The Portrait of a Lady; Hurston, Their Eyes Were Watching God; additional materials will be on Library reserve.

Requirements: Oral report, two brief (2-3 pages each) response papers, prospectus and documented seminar paper, active and informed participation in every class, peer editorial responsibilities.

ENGL 4384-02W: Senior Seminar, Prof. Gregory Fraser
Textual Trauma: The Traumatic in Literature
TR 12:30pm-1:45pm, TLC 2237

Required for all English majors.  Cannot be taken until ENGL 1101, 1102 and core area F have been completed with a minimum passing grade of C.  A minimum of 18 hours of upper-level English courses must also have been completed. Registration requires permission; contact Susan Holland.  Not offered during the summer session.  May be taken for 3 hours of WAC requirement.

Description: This Senior Seminar will explore representations of trauma in five genres. Our goal will be to investigate the textual nature and consequences of traumatic events in the lives of authors, literary characters, and cultures. We will study how contemporary theory defines trauma; how witnessing and testimony figure in trauma studies; and how texts represent traumas in generalized forms such as war, genocide, and global disaster, as well as traumatic experiences of violence, abuse, and oppression that occur on more personal levels.

Texts: Black Boy , Richard Wright; Unless, Carol Shields; Endgame, Samuel Beckett; The Collected Poems, Sylvia Plath; Deer Hunter, Michael Cimino, writer-director (the film will be screened outside of class).

Requirements: Periodic homework assignments and quizzes; two short essays of at least four pages in length; group oral presentation; researched essay of at least twelve pages; active participation in seminar discussions, peer editing, and anthology production.

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ENGL 4/5385

ENGL 4/5385-01W: Special Topics, Prof. Alison Umminger
Modern Humor
TR 2:00pm-3:15pm, Humanities 208

Requires permission of the department chair to repeat. May be taken for 3 hours of WAC requirement.

Description: This course will look at humor writing of the past century or so, beginning with Oscar Wilde’s Portrait of Dorian Gray and moving all the way to more recent humorists, such as David Sedaris, Jonathan Ames, and Helen Fielding. The emphasis will be on “literary” humor, as well as on essays. Questions that will arise include: What is the role of various subsets of the genre – satire, irony, parody? How does humor lend itself towards cultural criticism? What are the benefits of writing comedy as opposed to straight drama or tragedy? Are there places where humor is inappropriate (and I’d like, here, to depart for a moment and look at Lena Wertmuller’s film Seven Beauties as well as Bettleheim’s excellent critique of the film’s “satire”). What is the relationship of parody and satire to postmodernism and the divided subject? Who are generally privileged/undermined in humorous texts, and how do they subvert conventional behavior paradigms?

The purpose of this course is to illuminate the various ways the humor writing provides lucid and insightful cultural criticism. Students will think not only about what’s “Funny” but about why writers might use humor as opposed to other modes to convey their ideas, as well as discussing the limitations of the genre. We will also be looking at excerpts from such theorists at Aristotle and Freud.

Texts: The Portrait of Dorian Gray , Oscar Wilde. Me Talk Pretty One Day, David Sedaris. What’s not to Love, Jonathan Ames. A Confederacy of Dunces, John Kennedy O’Toole. Bridget Jones’s Diary, Helen Fielding. Slaughterhouse Five, Kurt Vonnegut Jr., The Catcher in the Rye, J.D. Salinger. The Portable Dorothy Parker, Dorothy Parker. Lorrie Moore, Self Help. Films: Seven Beauties, The Aristocrats (if out on video). Exceprts from Aristotle’s Poetics, Freud essay, other brief essays on humor.

Requirements: Students will take a mid-term and final, write one 8-10 page paper, short responses, and one humorous piece of their own!

ENGL 4385-02W: Special Topics, Prof. Janet Donohoe
Philosophy in Literature and Film
MWF 11:00am-11:50am, Humanities 205

Requires permission of the department chair to repeat. May be taken for 3 hours of WAC requirement.

Description:Philosophical ideas can be presented in surprising places. Through analysis of literature and film we can begin to recognize philosophical themes in genres other than straightforward philosophical treatises. This semester this course will address the philosophical themes of knowledge and tradition in philosophical and literary texts as well as in film. We will attempt to grasp how authors understand the relation of tradition to what we know and how we know it. We ask these questions in an effort to come to a deeper understanding of ourselves as human beings and our own relationship to our traditions.

Texts: Sophocles’s Antigone, Plato’s The Trial and Death of Socrates, Eco’s The Name of the Rose, Stoppard’s Arcadia. Additional shorter readings by Hawthorne, Heidegger, Derrida and Hildegard of Bingen will be made available in a course reader. We will view the following films. “A Man for All Seasons” by Fred Zinnemann, “Modern Times” by Charlie Chaplin, “Thin Blue Line” by Errol Morris, and “The Apostle” by Robert Duvall.

Requirements: response papers and in-class writing assignments, in-class written midterm exam, final paper of 2100-3000 words, in-class written final exam.

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ENGL 6110
ENGL 6110-01: Seminar in American Literature I, Prof. Randy Hendricks
Herman Melville
Thurs. 5:30pm-8:00pm, TLC 2237

Description: Dedicating ourselves to the worthwhile task of learning to read Melville’s work, we will trace his development from travel/adventure writer to philosophical novelist to poet. We will consider the extent to which his metaphysical flights and unusual literary forms strained his relations with an initially enthusiastic reading public in his own time and served as the basis for the restoration of his reputation for readers with modernist critical values in the twentieth century. Complaints in his own time and ours that Melville taxes his readers too hard will initiate for us an investigation of the extent to which his unusual forms were his comment on his times and a consideration of the role that not only a writer’s but a reader’s milieu plays in determining an author’s value and relevance. Immersion in Melville criticism will coincide with close scrutiny of primary texts as students generate discussion through their own writings.

Texts: Paperback editions of Typee, White Jacket, Moby-Dick, Pierre, The Confidence Man, The Piazza Tales, Selected Poems, and Billy Budd.

Requirements: Biweekly presentation of discussion points or questions, a research paper (15 pages) grounded in Melville criticism; critiques of papers by fellow seminar members.

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ENGL 6115
ENGL 6115-01: Seminar in British Literature II, Prof. Margaret E. Mitchell
Repression and Reform: The Victorian Social Problem Novel
T 5:30pm-8:00pm, TLC 2237

Description: While it is sometimes used to refer to a particular group of early-Victorian texts, the phrase “social problem novel” also establishes a category of fiction that persisted until the end of the era; it captures the particularly Victorian tendency to make the novel a forum for the investigation of social conflict and competing theories of reform. This course will open with texts arising from the social unrest leading up to the first Reform Act and end with fin de siècle novels by Thomas Hardy and George Gissing. These rich, complex, and conflicted novels will lead us into diverse social realms and the particular political, cultural, and economic struggles that characterize them; among the “problems” these works consider are poverty, rapid industrialization, literacy, prostitution, child labor, crime, and shifting class and gender boundaries. Attention to some of the nonfiction of the period—from major figures such as Ruskin, Mill and Carlyle to lesser known writers like Mona Caird and Florence Nightingale—will serve to ground investigations of the novels in the historical conditions which produced them, and to raise questions about the ideological function of the novel.

Texts: Elizabeth Gaskell, Mary Barton; Charles Dickens, Bleak House, Charlotte Brontë, Shirley; Benjamin Disraeli, Sybil; Thomas Hardy, Jude the Obscure, George Gissing, The Odd Women; Olive Schreiner, The Story of an African Farm; George Moore, Esther Waters; Deirdre David, ed., Cambridge Companion to the Victorian Novel. Nonfictional and additional critical reading on electronic reserve.

Requirements: Response Papers, 15 minute oral presentation, active participation, 15-20 page research paper.

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ENGL 6385

ENGL 6385-01: Seminar in Special Topics, Prof. Robert Snyder
Joseph Conrad and Graham Greene
M 5:30pm-8:00pm, TLC 1204

Description: Both of these major writers candidly admitted to emulating the late-nineteenth-century tradition of the “adventure” novel, thereby registering their distance from the “ Bloomsbury” group’s privileging of private consciousness (e.g., Virginia Woolf, et al.). Moreover, Graham Greene (1904-1991) was an early and fervent admirer of Joseph Conrad (1857-1924), though he struggled mightily with this precursor’s influence on his own work. Through a close study of five novels by each of these authors, this seminar will explore not only the issue of literary indebtedness but also, and more prominently, the significance of Conrad’s/Greene’s characteristically modernist themes, among them being moral isolation, international terrorism, social bankruptcy, and postcolonial exploitation. For Conrad we will be reading Heart of Darkness (1902), Nostromo (1904), The Secret Agent (1907), Under Western Eyes (1911), and Victory (1915); for Greene the list includes The Power and the Glory (1940), The Heart of the Matter (1948), The End of the Affair (1951), The Comedians (1966), and The Honorary Consul (1973). Because several of these texts have been adapted for film, we may also be considering on some occasions how these treatments compare to the original narratives.

Texts: Paperback editions, mostly Penguin, of all the above novels.

Requirements: Active participation in weekly class dialogue, five short response essays, leadership of a seminar discussion (including synopses of two relevant secondary sources on a particular novel), prospectus for final project, and research paper (16-20 pages).

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