in this issue


News & Events

Poetry Gala to Honor UWG's Centennial

Undergrad Conference

Film Studies Minor is Here!

Whittier Brings Fairchild to UWG

People News

Dr. Snyder Retiring

Davidson Pens Hockey Haiku

Beal Lands Internship

Job Spotlight on Susan McNeel

Anisa Lewis: Teaching and Learning in France

Course Descriptions

Summer 2007

Fall 2007



Summer 2007 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: Arts and Ideas

ENGL 4106: Studies in Genre
  ENGL 4109: Film as Literature


ENGL 4140: American Romanticism

ENGL 2050: Self Staging

ENGL 4188: Individual Authors

ENGL 2120: British Literature

ENGL 4300: Studies in the English Language

ENGL 2130: American Literature

ENGL 4385: Special Topics



ENGL 3200: Creative Writing

ENGL 6120: Seminar in American Literature II
    ENGL 6385: Seminar in Special Topics


XIDS 2100


XIDS 2100-04: Arts and Ideas, Prof. Phillip Mitchell
The Monstrous and the Grotesque
MTWRF 8:00am-11:25am, Humanities 207
Meets Session I

May count for credit in Core Area C1.

Description: Living with the curse of the werewolf has never been easy. Driven to cannibalistic feeding frenzies, sexual deviances, and murderous, late night rampages, the monster must learn to deal with a divided self, with one facet conforming to the moral parameters set by its community and the other tapping into the primal instincts that act antithetically to those parameters.

Despite the moral implications of its horrific transformations, however, the werewolf motif has sunk its teeth deep into the consciousness of Western civilization, appearing as early as Ovid’s Metamorphoses and having a presence in almost every major literary period since the Middle Ages.

This class will use medical case studies, film, literature, and psychoanalytic theory to discuss the development of the werewolf story, both the fictional accounts of shape-shifting and their real-life counterpart—once diagnosed as lycanthropy but now categorized as a form of schizophrenia—and how this grotesque narrative has become such a longstanding symbol of social impropriety and repressed desire.

Texts: Charlotte Otten’s The Literary Werewolf and course pack

Requirements: Regular attendance, participation, an oral presentation, reading quizzes, two tests (mid-term and final), and one response paper.

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ENGL 2000-level

ENGL 2050

ENGL 2050-01: Self-Staging: Oral Communication in Daily Life, Prof. John Sturgis
MW 5:00pm-7:45pm, Pafford 307
Meets Session II

May count for credit in Core Area B1. 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 2120

ENGL 2120-01: British Literature, Prof. Bonnie Adams
TR 8:00am-10:45am, Pafford 307
Meets Session II

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

Description: Over the course of the semester, we will examine not only the significant works of British authors, but we will also discuss the corresponding literary periods as well, spanning from The Middle Ages to The Twentieth Century. Students will examine these works within the context of their cultural importance; we will discuss at length how these works both shaped and reflected their cultures. As we progress, we will also examine how cultural ideals (regarding such issues as politics, education, war, gender relations, religion, and the individual) have evolved over the course of British history.

Texts: Norton Anthology of English Literature: The Major Authors

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ENGL 2130

ENGL 2130-01:American Literature, Prof. Randy Hendricks
M-F 12:30pm-2:45pm, Humanities 208
Meets Session III

Required for English majors. 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 classic texts in American literature. 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.”

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: Two analytical papers, final exam, daily quizzes.

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ENGL 3000-level

ENGL 3200

ENGL 3200-01W: Creative Writing, Prof. Alison Umminger
M-F 10:00am-12:15pm, Humanities 209
Meets Session III

No more than two (2) 3000-level courses may be counted toward the major in English. May be taken to satisfy 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 ofContemporary Fiction; Addonizio, Laux, The Poet's Companion; Leguin, Ursula, Steering theCraft.

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 ofMouth anthology. All students are required to be active participants in workshops.

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ENGL 4000-level

ENGL 4106

ENGL 4106-01W: Studies in Genre, Prof. Tom Dvorske
MWF 10:00am-11:45am, Pafford 308
Meets Session II

Required for certification in Secondary English Education. May be taken to satisfy the Genre and Theory 1 or 2 (Major Area B1 or B2) requirement. May be repeated for credit as genre or topic varies. Students may enroll up to three semesters. May be taken to satisfy 3 hours of WAC requirement.

Description: This course will be a total immersion in British and American poetry written in English from Medieval times to Contemporary. Among the questions we will consider is what does poetry mean at different times in history? How do aesthetic practices reflect cultural and philosophical changes? How do poets of each period claim their own tradition within the enormous body of work in English? We will also read statements on poetry from antiquity to the present day coinciding with our historical survey of the development of the genre. Students will also acquire an in-depth knowledge of poetics and poetic forms. In addition to the usual research-based argument, we will keep a scansion notebook and, on occasion, even produce our own poems for discussion.

Texts: McMahon and Curdy, The Longman Anthology of Poetry; Harmon, Classic Writings on Poetry; Turco, The Book of Forms (3 rd Edition).

Requirements: Daily writing assignments (undergraduate & graduate); research paper (7-10 pp. undergraduate/12-18 graduate).

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ENGL 4109

ENGL 4109-01W: Film as Literature, Prof. Joshua Masters
African American Cinema
M-Th, 5:00pm-7:55pm, Humanities 208
Meets Session IV

May be taken to satisfy the Genre and Theory 1 or 2 (Major Area B1 or B2) requirement. May be repeated for credit as topic varies. May be taken to satisfy 3 hours of WAC requirement.

Description: In The Fire Next Time, James Baldwin writes, “Color is not a human or a personal reality; it is a political reality. It exists only in the darkness of our minds.” This course will investigate the politics of race as it has played out, and panned out, in the history of American film. Our focus will be African American cinema—which we can be loosely defined as films written and/or directed by African Americans,—but we will also consider the unique contours of its texts against the larger backdrop of Hollywood’s representation of African Americans. The course will begin with a survey of what Toni Morrison calls “the Africanist presence” in films produced, and chiefly consumed, by white Americans. We will look specifically at Douglas Sirk’s Imitation of Life (1959) and Stanley Kramer’s Guess Whose Coming to Dinner (1967), followed by Spike Lee’s Bamboozled (2000), a ferocious satire of white productions of blackness in American popular culture. We will then return to the origins of the African American cinematic tradition with Oscar Micheaux’s Within Our Gates (1920), and then fast-forward to the “Blaxploitation” films of the seventies, with Blacula (1972) serving as our primary example. This will be followed by Spike Lee’s Do the Right Thing (1989), John Singleton’s Boyz n the Hood (1991), Julie Dash’s Daughters of the Dust (1991), Marc Levin’s and Saul Williams’ Slam (1998), and Malcolm Lee’s Undercover Brother (2002).

Texts: All the films listed above will be on reserve in the library, and a series of critical readings will be on electronic reserve, so you won’t actually have to buy anything for the class.

Requirements: Active participation in class, one oral presentation, an extensive film journal, and a final research paper.

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ENGL 4140

ENGL 4140-01W: American Romanticism, Prof. Patrick Erben
Radical Romanticisms
TR 2:00pm-4:45pm, Pafford 307
Meets Session II

May be taken to satisfy the American Lit 1 (Major Area A3) requirement. May be taken to satisfy 3 hours of WAC requirement.

Description: Poe, Emerson, Thoreau, Hawthorne, Melville, Whitman, Dickinson—if a list of these 19 th-century American authors makes you yawn, this course will help you wake up to the fresh and radical ideas of a generation of writers who tried to rouse their contemporaries from the dusty remains of Puritanism, the complacent acceptance of slavery, the mindless imitation of European literature and culture, the smug belief in the exceptionalism of American liberty, the debasing of human sexuality as filth, and—above all—the inability to think independently. Women writers such as Margaret Fuller and Fanny Fern as well as escaped slaves such as Frederick Douglass and Harriet Jacobs, moreover, fueled the spirit of discontent and radical change from the “margins.” In this course, we will study how the new art forms, philosophies, and social movements emerging from this period affected 19 th century America, but we will also explore how they have influenced writers and activists across the ages. When Thoreau famously postulated “Let your life be a counter friction to stop the machine,” he also inspired activists from Mahatma Gandhi to Martin Luther King. So, this summer come along and take a dip in the cool waters of “ Walden Pond.”

Texts: Norton Anthology of American Literature, 7 th ed., vol. B (1820-1865).

Requirements: Lively participation, one oral presentation, one short paper, one research paper, exploring how American Romanticism reverberates in 20 th-century and present-day culture (e.g. by studying the intertextual ties between Thoreau’s Walden and the movie Fight Club).

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ENGL 4188

ENGL 4188-01W: Individual Authors, Prof. Margaret E. Mitchell
Virginia Woolf
M-F 10:00am-12:15pm, Humanities 208
Meets Session IV

May be taken to satisfy the British Lit 2 (Major Area A2) requirement. May be taken to satisfy 3 hours of WAC requirement. May be repeated for credit as topic varies.

Description: “The writer of fiction,” Virginia Woolf suggested in 1925, “seems constrained, not by his own free will but by some powerful and unscrupulous tyrant who has him in thrall.” But if “the art of fiction” were “come alive and standing in our midst,” she argues, “she would undoubtedly bid us break her and bully her, as well as honor and love her, for so her youth is renewed and her sovereignty assured.” These few vivid lines from Woolf’s famous essay “Modern Fiction” (1925) not only encapsulate her theory of fiction but, perhaps even more provocatively, invite us to imagine the art of fiction in terms of politics, gender, and violence. Woolf’s language casts literary convention as a tyrant, the writer as a prisoner and a slave, and the art of fiction itself as a female sovereign who is at once broken and renewed by violence. It is a shifting metaphor, its vocabulary at once fanciful and lurid. This course will adopt these terms as a framework for reading Woolf’s own fiction, for exploring her radical aesthetics and its relationship to ideology.

In the course of the semester, students will read a range of Woolf’s novels, from her early and less overtly experimental work The Voyage Out to her innovative, genre-testing book The Waves. We will explore the relation between the form and content of each novel, considering Woolf’s literary innovations as complex responses to her subject matter, her thematic concerns, and her theories of subjectivity and representation. Embedded in this intersection of form and content, this course will propose, is ideology, an implicit world-view that illuminates both post-World War I Britain, the complexities of gender at the time, and the aesthetics of Modernism.

Texts: The Voyage Out, Mrs. Dalloway, To the Lighthouse, The Waves, Orlando, A Writer’s Diary, A Haunted House and Other Stories. Critical texts, selections from Woolf’s prose, and excerpts from other 20 th–century women writers through online reserve.

Requirements: Active participation and careful preparation, short response papers, oral presentation, exam, research paper.

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ENGL 4300

ENGL 4300-01D: Studies in the English Language, Prof. David W. Newton
English Grammar
Meets Session II

This is an online class. Students are required to attend the first class meeting and each of the three examinations. I will also be available each week on an optional basis to meet with students to go over questions, discuss study guides, and work on exercises in a face-to-face classroom environment. These meetings—both the four that are required and the other optional ones—will take place on Thursdays during Summer Session II in TLC 1116, beginning at 5:30 pm.

May be taken to satisfy the Writing and Language (Major Area C) requirement. Required for certification in Secondary English Education. May be repeated for credit as topic varies.

Description: In this course, we will explore the structure or grammar of the English language and work toward understanding the principles or rules that make it work. This course is primarily designed for English majors who seek to improve the grammatical proficiency of their writing and for future teachers at the secondary and college level. However, this course also has applications for students entering business and industry, science and medical fields, law and politics, media and public relations, or anyone who recognizes the essential human value of language and who understands how the ability to use language contributes to personal and professional success in life. After all, when you are talking to friends, asking someone out on a date, debating sports or politics, buying clothes at the mall, or writing a paper, you are using the structures and principles of English grammar, even when your sentences are not grammatical! However, knowing a language and knowing about the language are different kinds of knowledge. Even the ability to speak grammatically correct sentences in no way guarantees that a speaker knows enough about English to explain what makes those sentences grammatical. This course is designed to help you achieve that knowledge. We will refer frequently to Standard English, and, certainly, one of the benefits of this course is that it will help you refine your written and verbal language skills. However, this is not simply a course about grammatical correctness; instead, this course is designed to help you understand how the English language functions, what structures and rules are behind the sentence constructions that you and others create every day. To accomplish this task, we will learn some basic linguistic and grammatical concepts, and we will learn how to analyze (and diagram) different sentence constructions. We will also learn how elements of the language (verbs, nouns, sentence structure, pronouns, etc.) emerged and changed over time to create the language we use today.

Text: Vitto, Cindy. Grammar by Diagram: Understanding English Grammar through Traditional Sentence Diagraming. Broadview Press, 2006. (ISBN: 1-55111-778-9)

Requirements: For undergraduates, chapter readings, homework exercises from the textbook, online exercises via Web-CT, and three exams (a final exam is included in this number).

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ENGL 4385

ENGL 4385-01W: Special Topics, Prof. Meg Pearson
English Witch Plays: "Witch Craze: Supernatural Women and How to Handle Them"
MW 2:00pm-4:45pm, Humanities 209
Meets Session II

May be taken to satisfy the British Lit I (Major Area A1) requirement. Requires permission of the department chair to repeat. May be taken to satisfy 3 hours of WAC requirement.

Description: Witches in early modern England could be sex-crazed man-eaters, fearsome magicians, embittered grannies, or bored housewives. This class will consider these baffling differences by examining the peculiarly Jacobean genre of witch plays as well as early English tabloid journalism, court masques, and the disturbing sixteenth- and seventeenth-century transcripts of actual English witch trials. Using this evidence, we will attempt to piece together a definition of "witchcraft" that accounts for England's national obsession with supernatural women.

Texts: William Shakespeare, Macbeth; John Marston, Sophonsiba; Thomas Middleton, The Witch; Thomas Heywood and Richard Brome, The Witches of Lancashire; Thomas Dekker, John Ford, and William Rowley, The Witch of Edmonton; course pamphlet containing contemporary witch trial proceedings, witch hunting manuals, and additional theatrical materials.

ENGL 4385-02W: Special Topics, Prof. Lori Lipoma
Funny as Hell: Satan in Contemporary American Humor
M-F, 7:30am-9:45am, Pafford 302
Meets Session IV

May be taken to satisfy the American Lit II (Major Area A4) requirement. Requires permission of the department chair to repeat. May be taken to satisfy 3 hours of WAC requirement.

In this course, we will consider a problem that Andrew Delbanco identifies in The Death of Satan: How Americans have Lost the Sense of Evil, in which he argues that “a gulf has opened up in our culture between the visibility of evil and the intellectual resources available for coping with it”; has our postmodern culture, he asks, “emptied” the concept of evil of all meaning? Humor theorists John Morreall and V.I. Zelvys, on the other hand, suggest that contemporary humor—even when it’s transgressive—is one of the most effective strategies for coping with evil or adversity, especially in our endlessly complex pluralistic culture. We will consider, therefore, what if any new meanings we can make of the problem of evil when we juxtapose it with contemporary Satan-comedy.

Our study will begin with a brief look at traditional representations of Satan in the New World from the Puritans to the present. In parallel, we’ll examine contemporary philosophical and critical essays about theories of comedy and humor, and the ways in which they help us navigate the uncertainties and fears of contemporary life. From the perspective of these theoretical lenses, therefore, we’ll spend the balance of the course discussing and writing about humorous texts from several genres—film, television, stage plays, and graphic novel—that feature Satan as a comic protagonist. Finally, we will analyze these texts in an attempt to answer three overriding questions for the course: What does “Satan-comedy” reveal about our religious and cultural fears, and the ways in which we confront them? What deeper meanings about our ongoing struggle with the problem of evil might we derive from such a paradoxical approach? Does such humor trivialize our experience, or might it be a means by which we can reorder our own perceptions of evil, morality, and a growing complexity of value systems in collision?

Text: Delbanco, Andrew: The Death of Satan: How Americans Have Lost the Sense of Evil.
Films and Course Pack Readings:
Deconstructing Harry. Woody Allen, dir., Woody Allen, Robin Williams, Judy Davis, perf. Paramount, 1997.
“Do The Handicapped Go to Hell? Parts I and II” South Park, #410 and 411. Comedy Central, New York. 2000.
Hawthorne, Nathaniel. “Young Goodman Brown.” Literature:  The Human Experience, 8th edition.  Richard Abcarian, et. al, eds.  NY: Bedford/St. Martin’s, 55-93. 2002.
Little Nicky. Steven Brill, dir. Adam Sandler, Harvey Keitel, perf. New Line Cinema, 2000.
Provine, Robert. “The Road Not Taken: Philosophical and Theoretical Approaches to Laughter.” Laughter. NY: Penguin Books, 2001. 11-21.
Reis, Elizabeth. “Popular and Ministerial Visions of Satan.” Damned Women: Sinners and Witches in Puritan New England. Cornell UP, 1997.
“Satan’s Waitin’.” The Looney, Looney, Looney, Looney Bugs Bunny Movie. Friz Freleng, Dir. Warner Brothers, 1981.
Sedaris, Dave. The Santaland Diaries. NY: Dramatists Play Service, 1998.
South Park: Bigger, Longer, Uncut. Dir. Trey Parker. Perf. Trey Parker, Matt Stone, Mary Kay, Isaac Hayes. Paramount Pictures, 1999.
Timbers, Alex. Hell House. New Destiny Christian Church: Hell House Ministries.
Twain, Mark: Letters from the Earth: Uncensored Writings by Mark Twain. Bernard DeVoto, ed. NY: Harper Perennial Modern Classics; Perennial edition, 2004.
“That Day in Eden: Passages from Satan’s Diary.” The Complete Essays of Mark Twain. Charles Neider, ed. NY: Doubleday, 1963. 668-672.

Requirements: Assessment includes: Reading Responses: 5 @ 10% each = 50%; Oral Presentation/Leading Class Discussion: 15%; Research Paper: 35%

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ENGL 6000-level

ENGL 6120

ENGL 6120-01: Seminar in American Literature 2, Prof. Jane Hill
The Contemporary American Short Story
MW 10:00am-12:45pm, TLC 2237
Meets Session II

Registration requires permission of the Director of Graduate Studies, Dr. Maria Doyle.

Description: Using The New Short Story Theories, edited by Charles May, as a springboard for the theoretical assumptions regarding stories in our cultural moment, this course will apply those assumptions to a specific group of short stories written since 1990. We will supplement the May text with other articles and theorists, but the primary purpose of the class will be to look at how the genre of the short story has evolved since World War 2 and how that evolution is linked to practitioners such as Hemingway, O’Connor, Chekhov, and others that most influence contemporary story writers. The issue of the story and its relationship to serial publication and to the emergence of creative writing programs in American universities will also be explored. An additional goal will also be to discuss pedagogy as it pertains to the genre, making the course a good choice for current and aspiring teachers.

Texts: May, Charles, ed. The New Short Story Theories. Athens: Ohio UP, 1994; Baxter, Charles. A Relative Stranger. New York: Norton, 1990; Beattie, Ann. Follies. New York: Scribner, 2005; Englander, Nathan. For the Relief of Unbearable Urges. New York: Knopf, 1999; Lombreglia, Ralph. Make Me Work. New York: Penguin, 1995; Mason, Bobbie Ann. Nancy Culpepper. New York: Random, 2006; Shields, Carol. Dressing Up for the Carnival. New York: Viking, 2000.

Requirements: In addition to informed, active participation, two oral presentations—one on a theorist of the form, the other on a contemporary story; two short response papers; and a substantial essay based on scholarly research.

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ENGL 6385

ENGL 6385-01: Seminar in Special Topics, Prof. Angela Insenga
Media Matters: Focus on Film in Education
MW 2:00pm-4:45pm, TLC 2237
Meets Session II

Registration requires permission of the Director of Graduate Studies, Dr. Maria Doyle.

Inevitably, when students face the daunting task of reading a long text, they ask teachers, "Did they ever make a movie outta this book?" But what if the text is a film? How do we best instruct our students to think critically and write about visual texts, especially given learners’ cultural assumptions about them? This class will work to answer such questions by focusing on the increasing need for media literacy in an academic culture where the deployment of film in the classroom setting is now the norm. It will consider the notion that, as critical pedagogy practitioners Henry Giroux and Janet Wolf believe, movies are “public pedagogy,” that they "function as ‘teaching machines’ [. . . and] have more power and more influence than actual teachers in actual classrooms.”

During our eight-week semester, we will first explore why film enjoys a booming reputation in classrooms and is considered a powerful teaching tool and then move into how to harness that power through close investigation of the myriad ways to implement film in learning environments.

Texts: “Mock-You-Mentary”: Reading Social Satire on Film: Bamboozled (Spike Lee); C.S.A.: The Confederate States of America(Kevin Willmot). Re-Visioning: Film Reads Literature: American Beauty (Sam Mendes) (paired with Arthur Miller's Death of a Salesman); Apocalypse Now (Francis Ford Coppola) (paired with Joseph Conrad's Heart of Darkness). Girl(s), Interrupted, Girls Interpreted: the Adolescent Female on Film: Heathers (Michael Lehmann); The Virgin Suicides (Sofia Coppola). Mary T. Christel and Ellen Krueger. Seeing and Believing: How to Teach Media Literacy in the English Classroom; James Monaco. How to Read a Film: The World of Movies, Media, Multimedia; Various critical articles housed in the library's electronic reserves system, Docutek.

Requirements: Major assignments include Comprehensive Film and Film Readings Journal; 4, 3 page Response Papers; Oral Presentation (20 minutes); Major project (12-15 pages); Annotated Bibliography (8 sources).

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