ENGL 2050-02: Self Staging: Oral Communications in Daily Life
TR 9:30am – 10:45am, Pafford 308
English 2050-LCR: Self Staging: Oral Communications in Daily Life
MW 12:30pm – 1:45pm, Humanities 205
Dorothy P. Byrom
Self Staging teaches students to use lateral thinking skills in order to better present their authentic selves in today’s world. The skills students learn enable them to think more objectively while involved in true-to-life experiences. Self Staging prepares students to deal with public presentation, internal and external stress, conflict resolution, building a functional team, and impression management. Through the text readings and in-class improvisational exercises, students engage mentally and physically in these vital aspects of successful living.
Texts: Lipoma, Lori and Michael, Self-Staging from the Inside Out. Students will also need to spend approximately $10 for materials during the semester.
Requirements: Students with a desire to step outside their comfort zones and experience new levels of confidence.
ENGL 2050-LCM: Self-Staging: Oral Communication in Daily Life
TR 3:30pm – 4:45pm, Pafford 109
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.
ENGL 2060-01 : The Creative Voice
MW 5:30pm – 6:45pm, Pafford 307
In this course we will immerse ourselves in the creative works of a wide range of writers while we develop and explore our own creative voices. Some tools we might use as we stretch our voices: love letters to remote controls, childhood floor plans, parodies, formal constraints, collage texts and altered books, exquisite corpse characters, untaken pictures, and more. Workshop sessions will allow you to benefit from close readings and in-depth discussions of your work and the work of your classmates. Each student will complete a semester long project that culminates in a polished creative work and critical preface. Come prepared to read, write, think, and discuss energetically and often.
Texts: Writing Poetry: Critical and Creative Approaches, by Chad Davidson and Greg Frasier; Imaginative Writing: The Elements of Craft, 2 nd Edition, by Janet Burroway; Best American Poems 2008, ed. David Lehman and Charles Wright ; Best Non-Required Reading 2007, ed. Dave Eggers; and additional readings made available electronically.
Requirements: Daily readings and writing assignments; in-class exercises; written contributions to workshop; contributions to online discussions; semester long project (polished creative and critical aspect).
ENGL 2060-02 : The Creative Voice
MW 2:00pm – 3:14pm, Pafford 204
ENGL 2060-25H: Introduction to Creative Writing
MW 3:30pm – 4:45pm, Pafford 309
This introductory course is devoted to the practice of writing as a creative act. Expect to read a good deal of poetry, fiction, creative nonfiction, and drama; count on engaging in critical discussions of contemporary aesthetic principles; and be prepared to offer your own creative writing for group commentary. You must be willing to set aside regular time for writing, and must construct a comprehensive portfolio or your work by the end of the semester. Ultimately, this course sets out to help you access your imagination through writing and assess creative works by both aspiring and established authors.
Texts: The Best American Short Plays 2000-2001 (Glubke); Writing Poetry: Creative and Critical Approaches (Davidson-Fraser) ; In the Garden of North American Martyrs (Wolff) ; plus handouts to be distributed in class.
Requirements: Weekly readings, exercises, and homework assignments; written contributions to workshop; periodic quizzes; assessments of peer creative-writing submissions; a final portfolio of polished writing, including a critical preface.
ENGL 2110-01 : World Literature
TR 7 : 00 pm – 8 : 15 pm, Pafford 308
Inventing Selves : This course will explore personal and cultural strategies of self-invention. It will consider how people define themselves by telling stories, building empires, and re-interpreting social norms. Tracing what Salman Rushdie describes as “the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs,” the course will examine how people both consolidate and reassess their identities through encounters with others. In this process, we will cross five continents and four millennia, from Ancient Babylonia and mythic Greece to modern Africa, Asia, and the Americas.
Texts: The Norton Anthology of World Literature, shorter 2 nd edition ; E lectronic reserves.
Requirements: Tw o 5-6 page essays ; Two exams (midterm and final) ; In-class writing exercises, quizzes, peer editing, and short homework responses ; Class participation.
ENGL 2110-25H: World Literature-Honors
TR 3:30 pm – 4:45 pm, TLC 2237
The purpose of this course is to consume the world. Well, maybe that is a slight exaggeration. Let’s say the purpose is to survey literary and cultural documents from around the world starting with the earliest extant materials, usually the Sumerian epic poem Gilgamesh, and working our way by leaps and bounds up to the modern period, usually a contemporary poet such as Seamus Heaney or perhaps a film. Although we shall try our best to view this literature in a historical and political context, we will be hard pressed to be very detailed due to the astonishing breadth of this survey. Given the fact that we will be moving quickly through a lot of cultures, we shall hold to two constants: one, mythology as a grammar for comparative analysis; two, literacy as the fundamental skill of skills that we shall practice. The myths that we shall survey are typically myths of various heroes (gods, goddesses, warriors, tricksters, and wisdom figures), employed in a variety of archetypal plots (creation, protection, deliverance, questing and testing). The literacy tasks will be an assortment of the following: oral responses in class, oral presentation as a group, short answer writing on exams, and short essays written out of class.
Texts: Maynard Mack, ed., The Norton Anthology of World Masterpieces. Norton, 1997 ( ISBN: 0393971430 ). A text on myth.
ENGL 2120-01 : British Literature
MW 12:30pm – 1:45pm , Pafford 308
Literature and Desire : Love, desire, and sexuality permeate British Literature. Metaphors of desire (often tangled in with metaphors of monstrosity, sexuality, xenophobia, politics, and punishment) reflect much about cultural anxieties. Through this course, you will become familiar with the major literary styles, movements, and authors of British literature, from Old English through the modern era, by exploring various representations of love and desire. Texts will explore literary constructs of desire—courtly love, libertinism, companionate marriage, sexual awakenings—and the cultural constraints that inform each mode. We will explore several facets of the cultural literary context of the time through short excursions in history, art, and music and discuss the ways in which the cultural moment bears on the meaning of desire in a literary text.
Texts: William Shakespeare Much Ado About Nothing (Folger Library edition)—or other good edition . Aphra Behn The Rover (Broadview edition) , Jane Austen Mansfield Park (Penguin edition) , Oscar Wilde The Importance of Being Earnest (Norton edition) , Angela Carter The Bloody Chamber (Penguin edition) , Electronic Reserves (Docutek and/or Course Den).
Recommended: A Writer’s Resource Maimon, Peritz and Yancey , Writing Analytically (4 th edition) Rosenwasser and Stephen
Requirements: Three 2-3 analytical response papers (3-4 pages) , Midterm and Final Exams , Final Paper and Presentation (3-4 pages)
ENGL 2120-03: British Literature
TR 9:30am – 10:45am, Humanities 208
ENGL 2120-04: British Literature
TR 11:00am – 12:15pm, Pafford 308
English 2120-25H: British Literature-Honors
MW 2 :00pm – 3:15 pm , Hum anities 209
"Center and Margin" : The British literary tradition begins with a story of movement between center and periphery, with the hero Beowulf called to banish a monstrous outsider and restore the peace of a kingdom that is not his own. Thus, motion complicates the idea of the center – the site of cultural and political authority – and the margin – that which is considered outside, other, even monstrous. This negotiation raises questions about how we define these poles and how they influence one another, and this course will explore how writers throughout the British tradition, from earlier canonical authors to more recent multicultural voices, have used this idea of travel to examine questions of cultural authority and to define their relationship to the idea of Britishness.
Texts : Beowulf (Seamus Heaney, trans.), Sir Gawain and the Green Knight, William Shakespeare, Othello, John Donne, poems, John Milton, Paradise Lost, Jonathan Swift, Gulliver's Travels, Alfred, Lord Tennyson, The Idylls of the King, Charlotte Brontë, Jane Eyre, Joseph Conrad, Heart of Darkness, Samuel Beckett, Waiting for Godot, Salman Rushdie, East/West
Requirements: Online quizzes and writing journal, final critical analysis paper and final exam.
English 2120-26H: British Literature-Honors
TR 9:30am – 10:45am, Pafford 309
"It’s Alive: Monsters and Others in British Literature.” In this course we will read selected British literature texts from medieval to contemporary times with an emphasis on the issue of the monstrous. What makes monsters? How do writers from specific cultural moments define the Other as monstrous or savage, and what does this reveal about their own sense of themselves? How does the Gothic as a genre represent psychological, sexual, and political monstrosities? While we will encounter figures from the medieval Green Knight to contemporary bog people, we will also emphasize film variations of the Frankenstein story, from the little known 1910 silent film to Young Frankenstein to Bladerunner Required Texts: Longman Anthology of British Literature, Frankenstein, Endgame, selected film adaptations, and online readings on reserve, including Julian of Norwich, Chaucer (interlinear translation), Heaney, Woolf, Gordimer, and a theoretical introduction to postcolonial literature.
Requirements: Active discussion, group oral report, 2 response essays, midterm and final.
ENGL 2130-01: American Literature
MWF 11:00am – 11:50am, Pafford 308
This survey will introduce and compare major literary movements in America, from the 17th Century to the present, with a concentration on shifts in American cultural ideology. In the process, we will continue to ask what factors define our complex and dynamic American identity. Our exploration will begin by scrutinizing Puritan thought, with Mary Rowlandson’s seventeenth century captivity narrative. In response to Rowlandson, we will read Sherman Alexie, who concentrates on the legacy of Puritan colonization, and its lasting effects on Native Americans. The next unit will start with Benjamin Franklin’s ideology of success, and then move forward in time to study shifts in and criticism of Franklin’s principles, with perspectives from Mark Twain, D.H. Lawrence, William Carlos Williams, and Allen Ginsberg. We will continue to question colonial foundations, with a specific emphasis on deconstructing racial binaries, studying Frederick Douglass, Herman Melville, Toni Morrison, and Percival Everett. Finally, we will examine Thoreau’s relationship with the nature through the lens of American Romanticism. In response, we will read Don DeLillo’s White Noise, which provides a postmodern revision of Thoreau’s America.
Texts: An anthology of American literature (title TBA); Percival Everett, Erasure; Don DeLillo, White Noise
Requirements: in-class essay exams, two essays, quizzes, class discussion
ENGL 2130-02: American Literature
MW 12:30pm – 1:45pm, TLC 1116
The Making of an American Self: Conversations Past and Present: Throwing the gauntlet at patriarchal roles for women, Toni Morrison’s heroine Sula enumerates a quintessential theme in American discourse: “I don’t want to make somebody else. I want to make myself.” The search for self and place—within and without the community—is not a uniquely feminist project: it resonates as a whole mode of national consciousness, illuminating the conundrums of individuality and community that are the core of the American character. Our readings this semester will take us through a sweeping study of cultural constructions of the self in American literature from the Enlightenment era to the present. Collectively, our readings view narrative not merely as evidence of a national identity but as instruments for its fashioning. We will situate our trajectory within American historical, cultural, and literary contexts, analyzing disparate religious, philosophical, psychological, racial, and gender models of identity at contrasting moments in our nation’s history. Through careful study and close reading of texts, we will probe the notion of literary value (“What makes a text American?” and “What is an American masterpiece?”) as we foray multiple genres and look at some of the aesthetic, literary, psychological, and socio-historical facets out of which our texts are both generated and interpreted.
Required Texts: Sandra Cisneros A House on Mango Street 0-679734775 Vintage P; F. Scott Fitzgerald The Great Gatsby 978-0743273565 Scribner; Mark Twain The Adventures of Huckleberry Finn 978-0141321097 Puffin; Sherman Alexie The Absolutely True Diary of a Part-Time Indian 0316013692 Little, Brown Young Readers; Reprint edition; Benjamin Franklin The Autobiography 978-1420922387 Digireads
Nathaniel Hawthorne The Scarlet Letter 978-1593080129 Barnes & Noble Classics; Toni Morrison Beloved 978-1400033416 Vintage; Online readings: misc. poems and Emerson’s essay, found as links in the syllabus—these are part of your primary texts for this course.
Requirements: 3 shorter analytical essays, reading quizzes, a midterm and final exam.
ENGL 2130-03 : American Literature
TR 11:00 am – 12:15pm , Pafford 109
Patrick M. Erben
During the American Revolution, the French immigrant writer J. Hector St. John de Crevecoeur wrote a series of fictional letters in which he famously asked “What then is the American, this new man?” Of course, the quest for a unique American identity occupied the country during its war for independence, yet this question has been a recurring theme throughout American literature and culture. In a time when “American values” are often hailed as unassailable truths and various forms of dissent or difference are branded—once again—as “un-American,” this survey of American literature tries to shed light on the complex history of this idea. By reading texts ranging from the colonial period to the present, we will use American literature as a tool to understand the contested nature of American identity and to question the idea of being “American” as a static and unchangeable quality.
Texts: The Norton Anthology of American Literature, 7 th edition (1-vol. compact edition)
Requirements: Regular attendance, active participation, weekly reading quizzes, midterm and final exams, two response essays.
ENGL 2130-04: American Literature
TR 2:00pm – 3:15pm, Pafford 105
ENGL 2130-25H: American Literature-Honors
TR 11:00am – 12:15pm, Humanities 206
“American Literature, Backwards and Forwards” This honors survey of American literature traces the development of such themes as nature, nationhood, law, gender, race, and identity in our national culture, from first contact to the present day. However, rather than marching across the centuries with the mission of conquering our nation’s literary history, we will “light out for the territories” in a somewhat unconventional fashion. The subtitle of the course, “American Literature, Backwards and Forwards,” is meant to suggest both the intertextual and the transhistorical nature of the class. The writers and texts we will examine speak to shared concerns that reach across American history, and we will imagine the writers engaged in a dialogue and exchanging ideas through their literary works. Section One of the course, “Inventing America,” will examine the idea of American nationhood, from its Puritanical origins to its postmodern reformulations, in the poetry and prose of William Bradford, Benjamin Franklin, Walt Whitman, Langston Hughes, and John Berryman. Section Two, “Americans in Chains,” will consider the legacy of slavery in the American imagination, featuring an eighteenth-century autobiography by Olaudah Equiano, a nineteenth-century short story by Herman Melville, an early twentieth-century epic poem by Jean Toomer, and a late twentieth century novel by Toni Morrison. Section Three, “The First American Other,” will explore the role Native Americans have played in shaping American history and literature, beginning with short works by Christopher Columbus, Bernal Diaz, and George Catlin, and culminating in a postmodern novel by the Laguna Pueblo writer Leslie Marmon Silko. Finally, in Section Four, “The Questing American,” we will consider the Romantic tradition of the American quest narrative—rooted in the need to flee from the America we have collectively invented. Edgar Allan Poe’s 1838 novel Arthur Gordon Pym, Scott Bradfield’s 1986 novel The History of Luminous Motion, and Sean Penn’s 2007 film Into the Wild all feature an American youth in search of an alternative American self.
Required Texts (in order of appearance):
Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano
Herman Melville, Benito Cereno
Jean Toomer, Cane
Toni Morrison, Sula
Leslie Marmon Silko, Ceremony
Edgar Allan Poe, The Narrative of Arthur Gordon Pym of Nantucket
Scott Bradfield, The History of Luminous Motion (not available through bookstore)
Sean Penn, Into the Wild (film on reserve)
(Shorter works will be available on electronic reserve as PDFs.)
Requirements: Students will write several short papers, a medium length essay, and a research paper. In addition, students must earn a passing reading-quiz average, attend class without fail, and participate in round-table discussions.
ENGL 2130-26H : American Literature-Honors
TR 2 :00pm – 3:15 pm, Pafford 309
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.
Requirements: Active and informed class participation, 2 papers (c. 4-5 pages), oral report, cumulative final exam.
ENGL 2300-01: Practical Criticism
MW 2:00pm – 3:15pm, Humanities 205
Margaret E. Mitchell
Practical Criticism introduces students to the English major and the discipline of literary studies. In it you will develop the analytical, writing, and research skills necessary to succeed in the major. You will be introduced to some of the most important and useful critical perspectives in contemporary literary studies, and learn to employ them. The primary focus, however, is refining your skills in writing thesis-driven critical essays, and thus literary theory will always be employed in the service of your own original ideas and arguments about particular works of literature.
Texts: Likely to include Denis Johnson’s Jesus’ Son, Daphne du Maurier’s Don’t Look Now, Mary Gaitskill’s Veronica. (All theoretical and critical material will be on electronic reserve in the library.)
Requirements: Two 5-page analytical essays, one longer research project, a variety of preparatory assignments, quizzes if necessary, midterm, final, active class participation.
ENGL 2180-01: Studies in African American Literature
MW 3:30pm – 4:45pm, Pafford 308
ENGL 2300-03 : Practical Criticism
TR 9:30 am – 10:45 am, Pafford 109
Meg F. Pearson
Sleuthing and Interpretation : Literary criticism is frequently a process of deduction. With that in mind, this course will take as its mascot the master sleuth Sherlock Holmes. Alongside our explorations of theory and critical methodology, we will read Holmes's adventures as imagined by Sir Arthur Conan Doyle. Once we have mastered several theoretical models, we will finish the course with Dracula, a detective story gone Gothic.
Texts: Bressler, Literary Criticism: An Introduction to Theory and Practice; Major Stories of Sir Arthur Conan Doyle, Bram Stoker, Dracula
Requirements: Three short critical essays, final research project, final exam, reading quizzes, classroom discussion, participation.
ENGL 2300-04 : Practical Criticism: Research and Methods
TR 12:30pm – 1:45 pm , Humanities 231
NOTE: This section is for English Education and Middle Grades Education majors. Registration requires department permission. Email Susan Holland (email@example.com) for permission. Required for the major in English as a prerequisite to upper-division study. Not offered during summer session.
This section is designed specifically for students who are either preparing professionally to become teachers (Secondary English and Middle Grades majors, for example) or who have an interest in the relationships between reading, writing, and teaching. The most important thing this course will do is help prepare you for the intensive reading, writing, and critical thinking you will encounter in upper-level English courses that focus on literary analysis and/or writing by helping you to become more familiar with the terminology, critical methods, and approaches to reading, research, and writing that major-level courses include. However, this course will also allow you to begin thinking about the relationship between your future as a teacher and what you are doing in the classroom as a student. While some of the work we do will focus on current theories related to teaching and literary studies, other work will be more practical and will model the kind of work you could expect to perform in the classroom. Our goal will be to discover the different ways that theory and praxis can work together to make us better thinkers, better writers, and—in turn—better teachers. The literary texts that we will read in this class will include many that are appropriate for the middle grades and high school classroom.
Texts: Forthcoming. Check my website (www.westga.edu/~dnewton) for updates.
Requirements: Active participation in class discussions; in-class writing/editing assignments; in-class presentations; reading quizzes; two 4-5 page analytical essays, representing different critical approaches; midterm and final exams on terminology and methods, and a final 8 page research paper (will include prospectus, annotated bibliography, peer review discussion, oral presentation and article analysis). Note: you must have a C average (70 minimum) on all graded essays (critical essays and the research paper) in order to pass this class with a C or higher.
ENGL 3200 01W: Intermediate Creative Writing: Fiction
MW 12:30pm – 1:45pm, Pafford 309
Margaret E. Mitchell
This class will provide an intermediate level immersion in the writing of fiction, cultivating the imagination, the observant eye and the discipline that are essential to crafting good stories. Readings in short fiction will plunge us into the contemporary literary landscape and introduce you to some classics of the genre; not only will this acquaint you with various elements of the craft, but encourage you to situate your own emerging voice among those of other writers. Your journal will encourage you to think of yourself as a writer, to watch and to listen, to find stories at odd moments and in unlikely places, to practice playfulness as well as rigor. In workshops, you will benefit from intense discussions of your own work and that of other students. We will emphasize revision; by the end of the semester you will have produced a polished portfolio of short fiction.
Texts: Likely to include Best American Stories 2008, Ed. Salman Rushdie; Jesus’ Son, Denis Johnson. Other texts TBA.
Requirements: Writing journal, formal and informal writing assignments, short analytical essay, 20 page portfolio, written responses to other students’ work, active participation in class.
ENGL 3200-02W: Intermediate Creative Writing: Poetry
TR 2:00pm – 3:15pm, TLC 1204
ENGL 3200-03W:Intermediate Creative Writing: Creative Nonfiction
TR 12:30pm – 1:45pm, Pafford 309
ENGL 3405-o1W : Professional and Technical Writing
MW 3:30 pm – 4:45pm , TLC 1112
This course provides intensive practice in composing audience-driven documents in a variety of real-world business, professional and technical contexts. Students will learn to create effective business-related presentations and their requisite appropriate documentary and visual aids. The course, while focused on the growth of the individual writer, will provide opportunities for collaborative learning. The course will emphasize the necessity of close examination of and response to various real-world rhetorical situations; these situations will require serious attention to detail and to correct and effective writing. This course will require the creation of documents such as memos, PowerPoints, letters, resumes, manuals, etc.
Texts: Lannon, John. Technical Communication, 11 th Ed. New York: Pearson, 2008.
ENGL 3405-02W: Professional and Technical Writing
TR 12:30pm – 1:45pm, TLC 1109
Crystal R. Shelnutt
English 3405-02W will introduce students to the basic rhetorical concepts that govern a multitude of professional and technical situations. Highlighting the importance of the writing process, this course will concentrate on the fundamental topics and principles within professional writing communities in order to train students in effective and persuasive communication.
Together, we will analyze the professional and technical climates under which many documents are produced. Subsequently, students will gain intensive practice in composing powerful audience-driven documents in a variety of business, professional, and technical contexts—from gathering information through primary and secondary research to the planning and organizing of these workplace communiqués. Covering a wide range of technical communication—from letters, memos, and job application materials to definitions, descriptions, and instructions—this course provides practical and pertinent advice not only to meet but to surpass the professional standards that students will encounter in their future careers. Moreover, students will learn how to craft effective business-related presentations supported with appropriate documentary and visual aids, as well as collaborate on technical research and reporting projects.
Texts: Technical Communication, 9 th ed. Mike Markel. Bedford/St. Martin. ISBN#: 978-0-312-55532-0
Requirements: Successful completion of English 1101 and English 1102
ENGL 3405-03W: Professional and Technical Writing
TR 5:30pm – 6:45 pm, TLC 1109
The concept of the profession of Technical Writing has evolved from an auxiliary function practiced by necessity into a full blown primary profession that includes virtually every imaginable industry and service oriented business on the planet. Successfully marketed products and services cannot exist without complete written descriptions, specifications, functional instructions, promotional materials, and other supporting documentation. The ever-changing rhetorical situations that surround the creation of these documentary instruments provide the exploratory field for this course. Participants will discover absolutely new ways to employ their writing abilities and to stretch their understanding of their own writing processes by generating an entirely original set of documents based on real-time requirements and standards of practice.
Texts: (Provisional entry) Alred, Gerald J., Charles T. Brusaw, and Walter E. Oliu. The Technical Writer’s Companion. Third Edition. Boston: Bedford / St. Martin’s. 2002. ISBN 0-312-25978-6. (Subject to change).
Requirements: Students will execute a variety of different writing tasks under a variety of rhetorical situations established by the assignments package: Resumes, cover letters, business letters, and writing samples will be combined into a job search Presentation Package delivered at the midterm. A completed Research Project covering a subject of the student’s own choice will result in a Formal Report and Presentation delivered at the end of the semester.
ENGL 4/5106-01W: Studies in Genre: Fiction
MW 5:30pm – 6:45pm, Pafford 308
Margaret E. Mitchell
As a genre, fiction presents pretense as reality, forges feeling into form. This course will consider the aesthetic and ideological effects of these transformations. Some writers strive to close the gap between real and fictional worlds, producing fictions that mirror reality as closely as possible; others emphasize the constructed, textual nature of the worlds they have invented; we will trace these conflicting impulses of the genre from the early 19th century to the present, from the novel’s roots in domesticity and sensation to the literary experiments of the 20 th and 21 st centuries. We will read an eclectic assortment of novels and short stories that define and contest the boundaries of fiction, inviting us to consider the relationship between form and content, representation and reality.
Texts: Likely to include Jane Austen’s Emma, Wilkie Collins’s The Woman in White, Virginia Woolf’s Mrs. Dalloway, Colson Whitehead’s The Intuitionist, Margaret Atwood’s The Handmaid’s Tale, Denis Johnson’s Jesus’ Son, and Jhumpa Lahiri’s Unaccustomed Earth. Others TBA.
Requirements: Active participation, reading quizzes, a short analytical essay and a longer research paper, oral presentations, midterm, final.
ENGL 4/5106-02W Studies in Genre: Autobiography
TR 9:30am – 10:45am, Humanities 231
ENGL 4/5108-01W : Studies in the Novel: American
TR 11 :00am – 12:15 pm, Humanities 208
This course will focus on representative novels that have significantly influenced the development of the American novel with some discussion of precursor genres (spiritual and criminal biographies and autobiographies, travel writing, captivity narratives, romances, etc.). This course will also examine different theoretical positions accounting for the nature and evolution of the genre and the changing relationship between the novel and the reading public.
Requirements: Active and informed class participation, several short (2-3 pages) papers, oral report, prospectus and documented essay (8-10 pages).
ENGL 4/5109-01W: Film as Literature
M 5:30pm – 8:00pm, Pafford 305
In this course students will examine the horror film genre and the way it affects popular culture, other film genres, and even the human mind. Horror films have transformed themselves from monster dramas drawn from nineteenth-century literature to psychological scare fests, which led to a great proliferation of slasher films and the inevitable postmodern horror film. In fact, horror has a global place in cinema now, with the dominance of Japanese horror. This class will offer a brief historical overview of the horror genre and then students will begin to consider the larger historical, cultural, and theoretical debates around horror films and their audiences. At the end of the semester, students will be asked to offer their own argument about the phenomenon that is the horror film.
Texts: Wells, Paul. The Horror Genre. Wallflower. 2000. Jancovich, Mark. Horror: The Film Reader. Rutledge, 2002
Possible Film Texts: Bride of Frankenstein, Nosferatu, Psycho, The Texas Chainsaw Massacre, Night of the Living Dead, Halloween, Nightmare on Elm Street, Scream, Henry, Portrait of a Serial Killer ; Blair Witch Project, The Ring
Requirements: Two short essays, presentations, two exams, and one research paper
ENGL 4/5110-01W: Medieval Literature
MW 3:30 pm – 4:45 , Humanities 209
Chronicles of Narnia, Harry Potter, A Knight’s Tale, The Thirteenth Warrior, Excalibur, Joan of Arc, The Name of the Rose, Camelot, these titles of successful popular movies on medieval subjects, not to mention such things as Gothic art and architecture, tapestries, illuminated books, games like Dungeons and Dragons, and lay groups like the Society for Creative Anachronism, speak to the enduring appeal of the medieval world, but the "medieval world" represented by these various forms of popular art are very different from each other and differ even more radically from scholarly representations of that epoch, if it can even be called an epoch. In this course, we will compare these popular versions with the literature that the medievals themselves wrote and with the scholarly interpretations of same in order to see for ourselves how much, say The Thirteenth Warrior, is more about the modern world and the medieval world. We will do this as part of our survey of medieval literature in England. This survey will include Beowulf and other Old English poems and Marie de France from the Anglo-Norman period. From the Middle English period we will survey Chaucer, Sir Gawain and the Green Knight, many short lyrics and a few plays. There will be a few short papers, oral presentations, and a course project, in the form of a longer paper, required.
Texts: Medieval English Literature. Eds. J.B. Trapp, Douglas Gray, Julia Boffey. Oxford UP, 2002. (ISBN 0-19-513492-3) ; The Lays of Marie de France . Trans. and ed. Glyn Burgess and Keith Busby. Penguin, 1988. (ISBN 0-14-044476-9) ; Cook, William R., and Ronald B. Herzman. The Medieval World View: An Introduction 2 nd ed. Oxford: Oxford UP, 2004.
ENGL 4/5125-01W : Colonial and Early American Literature
TR 12:30 pm – 1:45pm , TLC 1116
Patrick M. Erben
Early America in Narrative, Art, and Film: This course examines the representation of early America in narrative (fiction, non-fiction, poetry), art (painting, sculpture, print illustrations, etc.), and film. We will see how textual and visual forms of expression have collaborated—over time and up to the present—in creating a concept of America in the European imagination (period of conquest and exploration), allowed Americans to form an identity in distinction from Europe (Revolutionary period), and how the new United States both glorified and contested westward expansion, Native American genocide, and slavery. We will compare pre-Columbian and post-contact Native American art with European representations of the supposedly “savage” and “heathen” peoples of the Americas; we will learn how Revolutionary art and literature exulted independence, while “subaltern” groups such as women, African Americans, and Native Americans gave voice to their discontent; and we will see how artists and writers of the early 19th century simultaneously bemoaned the “disappearance” of the Indian while enticing western settlement with vistas of endless lands and stunning sunsets. This course emphasizes strategies of visual, semiotic, and literary analysis, and thus tries to attract students from literature as well as art, art history, history, and film studies backgrounds.
Texts: Norton Anthology of American Literature, 7 th edition, Volume A: Beginnings to 1820; electronic versions of art; critical texts through e-reserve; regional art museums and repositories.
Requirements: Active participation, weekly reading quizzes, midterm and final exams, 2 short analyses (one literary, one visual), and one larger research project (including archival research in digital databases).
English 4/5155-01W: Twentieth Century British Literature
MW 12:30pm – 1:45pm, Humanities 206
Early in the twentieth century, W.B. Yeats asserted in “The Second Coming” that “things fall apart; the centre cannot hold.” By the century’s end, Tom Stoppard’s play Arcadia would posit: “We shed as we pick up, like travelers who must carry everything in their arms, and what we let fall will be picked up by those behind.” The movement from modernist disillusionment to postmodern fluidity will serve as a framework for our discussion of a century engrossed in the question of how things fall apart even as they move forward. Exploring anarchist bombers and evening parties, existential wastelands and postmodern mythologies, this course will ask how the shifting currents of history – including the breakup of the British Empire, the politics of World Wars I and II and the rise of the British welfare state – have also fractured literary time, cultural meaning and the definition of Britishness itself. Classes will explore a variety of literary forms including novels, poetry and plays from across the period.
Texts: Poems by W.B. Yeats, W.H. Auden, Florence "Stevie" Smith and Ted Hughes; Joseph Conrad's The Secret Agent, James Joyce's A Portrait of the Artist as a Young Man, Virginia Woolf's Mrs. Dalloway, Salman Rushdie's Midnight's Children, Samuel Beckett, Happy Days, Harold Pinter, The Homecoming, Tom Stoppard, Arcadia
Requirements: Online quizzes and discussion response journal, research project (including final 8-10 page paper), final exam
ENGL 4/5160-01W: 20 th Century American Literature
MW 2 :00pm – 3 : 15 pm , Humanities 208
Modern American Fiction in Black and White This course, subtitled “Modern American Fiction in Black and White,” will explore the myths, themes, and political controversies that have shaped the development of modern American fiction and film, with a particular eye towards the troubled status of racial identity in the American imagination. As we survey such literary movements as Realism, Modernism, and Post-modernism, we will pay attention to the way that new literary forms and movements responded to dramatic social and historical events and shifting cultural attitudes about race, particularly our attitudes towards the categories of “whiteness” and “blackness.” We will also consider the role of American fiction, including film, in shaping those attitudes. The works we will read demonstrate a wide a range of perspectives and narrative techniques, and each suggests 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 in America. While examining the works’ shared interests in history, identity, and human agency, we will also bear in mind the unique nature of the individual writers and their texts.
Required Texts (in order of appearance) : Mark Twain’s Pudd’nhead Wilson, James Weldon Johnson’s Autobiography of an Ex-Colored Man, Zora Neale Hurston’s Their Eyes Were Watching God, the short stories of Flannery O’Connor, Charles Johnson’s Middle Passage, Russell Banks’s Continental Drift, Toni Morrison’s Love or A Mercy. Several critical readings will be on electronic reserve, and three films will be on reserve at the library: Birth of a Nation, Imitation of Life, and Bamboozled.
Requirements : Students must maintain a reading-quiz average of 65% or higher, turn in a series of process-based writing assignments, a five-page paper, and an eight to ten-page final project.
ENGL 4180-01W/5180-01: Studies in Regional Literature: Southern
TR 2:00pm – 3:15pm, Humanities 208
Organizing texts in pairs or clusters, we’ll examine the literary side of the long and contentious debate over Southern history and culture. For example, we’ll contrast the Old Dominion romance of Thomas Nelson Page’s “Marse Chan” with the stories of African-American writer Charles Chesnutt for the issues they raise about the ownership and authorship of Southern history (as well as the diversity of tone and genre they provide as we move from romance to folk material). We’ll follow the twisting extension of this debate through such framing concepts as The New South, The New Negro, Progressivism, and Agrarian conservatism, reading works by Sidney Lanier, H. L. Menken, John Crowe Ransom, Allen Tate, Alain Locke, and Richard Wright. For the era of desegregation and the Civil Rights Movement, we will pair the writing of two major social and literary figures of the twentieth century--Martin Luther King, Jr., and Robert Penn Warren—using selected writings and speeches by King, an interview Warren conducted with King for his book Who Speaks for the Negro? and Warren’s 1964 novel, Flood: A Romance of Our Time.
We’ll examine issues of Southern family and community through Tennessee William’s play The Glass Menagerie, Eudora Welty’s novel The Optimist’s Daughter, and Gail Godwin’s novel Father Melancholy’s Daughter. Our last cluster will be devoted to representations of the rural south through Maggie Greenwald’s film Songcatcher and fiction by George Washington Harris, Erskine Caldwell, Lee Smith, and Alice Walker. The pairings and clusters will provide focus and, one trusts, coherence to the course, but they are not finally to be taken as solid divisions of knowledge. Lectures and discussions will range over the entire scope of our subject throughout the semester. In fact, we’ll use another pair of texts to bookend the course, beginning with Margaret Mitchell’s 1936 romance, Gone with the Wind, and ending with William Faulkner’s 1936 romance of a different color, Absalom, Absalom!
Texts: Mitchell, Gone with the Wind; Welty, The Optimist’s Daughter; Godwin, Father Melancholy’s Daughter; Faulkner, Absalom, Absalom!; Caldwell, Tobacco Road; Smith, Oral History; Warren, Flood: A Romance of Our Time; Christian/Walker “Everyday Use” (Note: Students must have this edition); and a course packet.
Requirements: 2 short analytical papers, research paper, midterm and final exams. Graduate students with write a more extensive research paper with an annotated bibliography in lieu of the final exam.
ENGL 4/5188-01W: Individual Authors: Thompson
TR 8:00am – 9:15am, Humanities 231
ENGL 4/5188-02W: Individual Authors: Shakespeare
TR 2:00pm – 3:15 pm, Humanities 209
Meg F. Pearson
Love Hurts: Shakespeare plays with love in his poetry and his drama, where he contemplated how love could be sexy, naïve, violent, or doomed. This course will explore the ways in which Shakespeare considers the poetic clichés of love and its realities, both the beautiful and the sordid. Beginning with the sonnets and the narrative poems including "The Rape of Lucrece," we will trace the various manifestations of love through tragedy and comedy alike, analyzing the depictions of couples such as Macbeth and his Lady, Romeo and Juliet, Katharina and Petruchio, and Leontes and Hermione.
Texts: Complete Sonnets and Poems, Romeo & Juliet, Measure for Measure, Macbeth, Taming of the Shrew, Othello, and the Winter's Tale.
Requirements: For undergraduates, two short response papers, oral presentation, final exam, final research project. Graduate students will complete additional secondary reading and a longer research project including a substantial annotated bibliography.
ENGL 4/5210-01W: Advanced Creative Writing: Fiction
TR 3:30pm – 4:45pm, Pafford 105
ENGL 4238-01: Methods for Teaching Secondary English
W 5:30pm – 8:00pm, Pafford 309
During fall semester, Methods students have three major tasks ahead of them: first, we will sharpen our own analytical skills by studying the sign of the teacher extant in four texts. In doing so, we will critique not only the literature but also consider our burgeoning teaching selves as texts that our students—and we—must learn to read and reread in order to grow intellectually and professionally. Secondly, we will examine current pedagogy for teaching English in the secondary classroom, and we will practice deploying teaching methods by creating comprehensive Unit Plans. Our third goal will involve investigating the numerous contingencies that comprise the public school world, including teaching students at various levels, effectively balancing the workload, handling administrative policies, collaborating with colleagues, effective classroom management, and communicating effectively with parents.
Students will observe and be observed in the public school setting, videotape themselves teaching twice and write analytically about what they see, write journal entries about field experiences and in-class texts, and complete two, two-week Unit Plans: one due at mid-term and one viewed as a culminating project for the course.
To gain admittance to this class, students must be accepted into the TEP and have completed all required Field Experience paperwork. To register, students must contact the Coordinator of English Education: firstname.lastname@example.org or 678 839 4864.
Required Texts: Chalk directed by Mike Akel; The Water is Wide by Pat Conroy; The Blackboard Jungle by Evan Hunter, Papers, Papers, Papers: An English Teacher's Survival Guide by Carol Jago; Freedom Writers directed by Richard LaGravenese; The Crucible by Arthur Miller; Teaching Secondary English: Readings and Applications by Daniel P. Sheridan; Subscription to Foliotek, the online assessment tool for ENGL ED students; The Conceptual Framework from the College of Education; Teacher Education, Field Experiences, and Internship: Policies and Procedure Handbook from the College of Education; Code of Ethics for Educators from the Professional Standards Commission
ENGL 4286-01: Teaching Internship
M 5:30pm – 7:00pm, TLC 1109
The internship for secondary education certification involves teaching English for one semester in a public school under the supervision of an experienced, qualified English teacher. Weekly seminars are an integral part of the student teaching experience and will model and provide interns with numerous and varied opportunities to plan, deliver, evaluate, and revise educational strategies. Such a learning environment, based on developing best practices through sound pedagogical modeling, will serve as part of an ongoing and comprehensive portfolio assessment process. Students will assemble capstone portfolios of their personal and professional work as evidence of their advancement.
Requirements: Six mandatory field observations, including lesson plans with standards. A polished, final portfolio containing necessary professional artifacts such as a resume, teaching philosophy, effect on instruction, portfolio introduction, and case study responses. Active seminar participation is a must.
ENGL 4295-01: Young Adult Literature
TR 5:30pm – 7:00 pm, Humanities 208
What books will I teach? How will I teach them? Can I teach film? Is that book actually taught in high school? What if they ask me about racial slurs in classic texts? Is it all right to talk religion? Can I teach a book with cursing in it? Is that “appropriate”? What about parents? What will they think? Questions like these regularly ricochet off walls of pedagogy-centered classrooms in which students, who are themselves constant readers, begin to concern themselves with ways that they might teach others to read constantly. In an era when performance standards and the rigors of our own discipline can create polarized discussions, we owe it to our teaching selves to enter the professional conversation and find good answers to these and many other questions.
During fall semester, Young Adult literature students will begin their work by studying adolescent psychological and cognitive development. We will then read primary texts, not only demonstrating our collegiate analytical prowess but also discussing ways to teach each text to secondary students. We will explore texts expressly written for teenagers alongside canonical texts and study the sometimes contentious battle between the “canon as cultural medicine” contingency and the “lifelong learner” camp. We will talk about curricular planning and examine Language Arts standards for secondary students, and undoubtedly we will draw (and cross) boundary lines when it comes to philosophies regarding reading and writing practices in public high schools.
Required texts: Scorpions by Walter Dean Meyers, A Raisin in the Sun by Lorraine Hansberry, 1984 by George Orwell, Feed by M.T. Anderson, Children of Heaven directed by Majid Majidi, You Hear Me?: Poems and Writing by Teenage Boys edited by Betsy Franco, Speak by Laurie Halse-Anderson, Twilight by Stephanie Meyer, Using Young Adult Literature in the English Classroom (4th Edition) by Bushman and Haas, Critical Encounters in High School English: Teaching Literary Theory to Adolescents by Deborah Appleman, The Conceptual Framework from the College of Education, Code of Ethics for Educators from the Professional Standards Commission
Requirements: Students can expect to complete and turn in daily work, to collaborate while in class, to write weekly in an analytical journal, to complete a take-home mid-term examination, and to propose, research, and create a tripartite capstone project.
ENGL 4/5300-01 : History of the English Language : American English Dialects
TR 3:30pm – 4:45pm, Pafford 307
Regardless of where you go in America, you will encounter people who are fascinated by how other people talk. Some of that talk that we do about how people talk is simply curious observations about speech differences. After all, our dialect (and yes, everyone speaks some kind of dialect) is one of the primary ways that others attempt to understand who we are. However, at other times the judgments and observations that people make about dialects are not so harmless or neutral. They can be the basis of unexamined stereotypes; they can affect one’s ability to acquire an education; they can limit or expand one’s access to social and economic opportunities. While everyone seems to have something to say about dialects, there is much about how we speak and where that speech comes from that remains a mystery. This course will introduce students to the academic field of dialectology, which is just a formal way of saying the academic study of dialects. While dialects exist all over the world wherever languages exist, we will focus on the dialects that are found in America. We will begin by learning some theories and methods related to the study of language (or linguistics) that will help us understand dialects from an academic perspective. In the process we will hopefully dispel some of the popular myths that exist about dialects. Next, we will look at the origins of different dialects in America (tracing their roots back to England and to other places that have contributed to their development) and learn about the specific phonological (sounds), lexical (words), and syntactical (grammatical) elements that comprise different dialect. As part of our study, participants will learn how to classify dialects through the analysis of pronunciation, word choices, and grammatical structures. We will even do some field work, which will allow participants to get outside the classroom and conduct their own independent linguistic investigations. The class will conclude by looking at the relationship between dialects and selected professional goals. First, we will explore literary representations of dialects and examine how and why some authors attempt to represent speech in writing. We will also consider the role dialects play in education. For example, how does a teacher or an educational institution address the realities of nonstandard speech/writing in the classroom? What's the value of a dialect in relationship to the "standard" (which is in reality just another kind of dialect, but one that has social prestige)? Final research projects will allow students to explore a specific aspect of dialects in relationship to their own professional interests: literary, historical, educational, legal, sociological, psychological, or linguistic.
Texts: Wolfram and Estes, American English Dialects (2nd edition); course packet with supplement readings and materials; other texts may be added or placed on reserve in the library.
Requirements: Active participation in class; homework assignments; class presentations; weekly reading and homework quizzes; mid-term and final examination; brief writing-to-learn and fieldwork assignments; final research project related to the students professional goals (includes 8-10 pages of academic writing).
ENGL 4384-01W: Senior Seminar
MW 2:00pm – 3:15pm, Pafford 309
ENGL 4384-02W: Senior Seminar
TR 11:00am – 12:15pm, TLC 1204
Why So Serious? Tricksters in Literature and Film . Thi s capstone course, a culmination of study in the English major, allows students to examine a critical/theoretical issue within the discipline and use their coursework and literary interests to choose a research project which will become part of a published anthology of essays from the class. This semester, we will explore the ways in which trickster figures (representing madness, witchcraft, or the supernatural) function in literary texts. In virtually all cultures, tricksters (ubiquitous shape-shifters who dwell on borders, at crossroads, and between worlds) are both folk heroes and wanderers on the edges of the community, at once marginal and central to the culture. Tricksters challenge the status quo and disrupt perceived boundaries, which is why Smith argues for their particular functions in contemporary ethnic American writers. Using Smith’s Writing Tricksters: Mythic Gambols in Ethnic American Literature, we will focus on the central functions of these characters in the construction of identity and culture. We will apply these arguments to race and gender in Morrison’s Sula and Maxine Hong Kingston’s The Woman Warrior. We will then extend the argument beyond ethnic writers in terms of how social nonconformity is constructed as madness in the film Girl Interrupted and how the figure of “witchcraft” functions in Churchill’s play Vinegar Tom. Finally, we may ponder how the literary forms themselves act as trickster narratives for readers. Student projects may be on any literary/filmic text in which trickster figures (potentially represented as ghosts, witches, or madwomen/madmen) figure in the construction of identity within a given culture.
Texts: Smith, Writing Tricksters: Mythic Gambols in Ethnic American Literature, Kingston, The Woman Warrior: Memoirs of a Girlhood Among Ghosts, Morrison, Sula, Churchill, Vinegar Tom, and film Girl Interrupted
Requirements: Class discussion, individual and group oral reports, two response essays, substantive research project, including prospectus, abstract, and annotated bibliography.
ENGL 6105 : Seminar in Brit. Lit. I
W 5:30 pm – 8 :00 pm , TLC 1204
From where does the novel come? Everyone seems to have slightly different answer depending on what is at stake: rhetorics of virtue?—the novel comes from the conduct book; rhetorics of romance?—the novel is French; rhetorics of adventure?—the novel is born of ships’ logs; the list continues. I have another theory: the novel comes from drama. This course offers an alternative discourse to the rise of the novel based on the idea that early fiction owes a debt to Restoration and eighteenth-century playwriting. The readings will be situated within broader cultural and critical contexts, with lectures and/or readings of some the main literary critical lenses of the Restoration drama and early fiction: libertinism, performance theory, the public/private binary, metadramatic technique, and gender constructs.
Texts: Sir George Etheredge, Man of Mode; William Wycherley, The Country Wife; William Congreve, Incognita and Way of the World; Aphra Behn, History of the Nun and Oroonoko; Thomas Southern, The History of the Nun and Oroonoko Susannah Centlivre, Bold Stroke (or The Wonder); Daniel Defoe, Roxana; Eliza Haywood, Fantomina, The British Recluse, A Wife to be Lett; Fanny Burney, Cecelia, The Witlings, The Woman Hater
Requirements: presentation; 8-10 page paper; 15-20 page seminar paper; annotated bibliography; conference proposal
ENGL 6110-01 : Seminar in American Literature I
T 5:30 pm – 8:00pm , Pafford 309
NOTE: Requires permission from the English Director of Graduate Studies to register.
Captive Nations: (Re)presenting the Native in American Literature All too often, the study of Native American literature is taught as a thing apart from the more conventional study of American literature. Certainly there are valid reasons for this approach, since it allows us to understand more fully Native American literature as an authentic literary tradition with its own generic structures, interpretive theories, and canon of writers. However, it is equally important to understand the relationship between Native American literature (in whatever ways we might interpret those modifying words) and the broader traditions of European and American literature. This course will attempt to work within or negotiate these cultural and literary margins, seeking to understand more clearly Native American literature as well as the “Native” in American literature. To accomplish this task, we will explore the central role that representations of Native Americans played throughout the colonial and early national eras of the new American republic. These were eras when questions of race, notions of otherness, and anxieties about national and ethnic identity most often were situated around representations of Native Americans. One only need look at the iconography in some of our most cherished national monuments (such as Congress) to see their significance. We will examine some of the earliest cultural and national myths—perhaps best known through the story of John Smith and Pocahontas—that are fashioned from these early encounters, and we will explore the motif of captivity—an early and unique contribution to the proliferation of literary genres in the new world—which becomes a persistent cultural trope in American literature and history. It plays an essential role in shaping the genre of the American Western and even appears as a recurring motif in contemporary science fiction, including accounts of alien abductions and political controversies over such places as Abu Ghraib and Guantanamo Bay. In both non-fictional, and, later fictional, versions, of captivity, these narratives encode and comment on core issues in American culture and identity. Along the way, we will read these non-Native representations of Native Americans along with—and often against—representations of this history by some contemporary Native American writers such as N. Scott Momaday, Louise Erdrich, Leslie Marmon Silko, and Stephen Graham Jones, each of whom provides a different perspective on these cultural conflicts. Secondary readings in current literary and historical scholarship on these narratives will supplement our investigation, as will some filmic interludes.
Texts: Primary texts will include John Smith, A True Relation . . . As Hath Happened in Virginia (1607); Early American Captivity Narratives (selections); Lydia Maria Child, Hobomok and Other Writings on Indians; Catharine Maria Sedgwick, Hope Leslie; James Fenimore Cooper, The Last of the Mohicans; Scott Momaday, The Way to Rainy Mountain; Louise Erdrich, Love Medicine; Leslie Marmon Silko, Storyteller; and Stephen Graham Jones. Other shorter works will supplement this list of major texts. We will also have a course packet of secondary critical readings which will help us to become more familiar with the current critical scholarship on these primary works.
Requirements: Two class presentations, one on a primary text and another on a critical study; two short analytical essays (4-5 pages); and a final research essay (12-15 pages), which will include a formal prospectus and an annotated bibliography or critical review.
ENGL 6385-01: Seminar in Special Topics
M 5:30pm – 8:00pm, Pafford 309
The Interpretation, Teaching, and Making of Poetry This seminar aims to supply students with a strong foundation for interpreting and teaching poetry from a range of historical and cultural contexts; it also asks students to engage in the creative practice of making poems as a means of discovering the complex textual and contextual conditions of this specific literary genre. Students will study representative poems (drawn from the M.A. reading list) from dominant eras in both the British and American traditions in order to deepen their understandings of literary production and periodization in the genre of poetry. Ultimately, students will become conversant in contemporary theories about the interpretation, teaching, and making of poems. The skills practiced in class promise benefits for those planning to enter or currently working in professions devoted to the language arts.
Texts: The Norton Anthology of English Literature: Major Authors , Seventh Edition, M. H. Abrams (General Editor);
The Norton Anthology of American Literature, Shorter Sixth Edition, One-Volume Paperback, Nina Baym (General Editor); Writing Poetry: Creative and Critical Approaches, Davidson-Fraser (Palgrave Macmillan)
Requirements: Regular creative and critical writing exercises and homework assignments; periodic memorizations; one five-page critical essay; teaching presentation with lesson plan; final research-based project to be framed in consultation with the professor.
FILM 2080-01: Intro to the Art of Film
MW 2:00pm – 3:15pm, Humanities 312
In this course students will consider the primary visual, aural, and narrative conventions by which motion pictures create and comment upon significant social experience. Students will watch a wide range of films from a variety of countries and historical moments in film history. Students will have the chance to explore issues such as framing, photographic space, film shot, editing, sound, genre, narrative form, acting style, and lighting in the context of wider discussions of the weekly films. This is an introductory course, and assumes no prior knowledge of film. Students will be evaluated primarily on the basis of weekly postings, a shot-by-shot analysis, and exams. Weekly screenings will be offered.
Texts: Corrigan, Timothy and Patricia White. The Film Experience: An Introduction
Requirements: Weekly quizzes, a shot-by-shot analysis, and two exams
FILM 2100-01: History and Theory of Film
MW 3:30pm – 4:45pm, TLC 1200
This course will explore major developments in film history, theory, and criticism. Students will become familiar with several different film movements in the development of the art form and will be introduced to basic ideas in film theory. Through a variety of film movements and historical periods, students will develop an understanding of the cultural, industrial, and political contexts for some of most significant debates about film. Specific topics covered will include Russian formalism, the history of classical Hollywood cinema, the French New Wave, recent global cinemas, as well as alternatives to Hollywood in the United States. Class time will be divided between discussion of the historical movements and critical texts and the application of those texts to a primary cinematic text. Students will be evaluated on the basis of weekly postings, participation in discussion, essay exams, and formal writing opportunities.
Texts: Mast, Gerald. A Short History of the Movies, 10 th Abridged Edition
Requirements: Weekly quizzes, one presentation, in-class essay, and two exams
XIDS 2100-03: Modernism: Modern Love
MWF 10:00am – 10:50am, Humanities 231
XIDS 2100-06 The Monstrous and the Grotesque
MWF 12:00pm – 12:50pm, Pafford 109
XIDS 2100-08: The Creative Process
TR 5:30pm – 6:45pm, Pafford 105
thedefinite article1 a — used as a function word to indicate that a following noun or noun equivalent is definite or has been previously specified by context or by circumstance b — used as a function word to indicate that a following noun or noun equivalent is a unique or a particular member of its class c — used as a function word before nouns that designate natural phenomena or points of the compass d — used as a function word before a noun denoting time to indicate reference to what is present or immediate or is under consideration [. . .]
creativeadj1 : marked by the ability or power to create : given to creating 2 : having the quality of something created rather than imitated : IMAGINATIVE 3 : managed so as to get around legal or conventional limits ; also : deceptively arranged so as to conceal or defraud
processn1 a : PROGRESS, ADVANCE b : something going on : PROCEEDING 2 a (1) : a natural phenomenon marked by gradual changes that lead toward a particular result (2) : a natural continuing activity or function b : a series of actions or operations conducing to an end; esp : a continuous operation or treatment esp. in manufacture (definitions taken from Webster’s Collegiate Dictionary)
Based upon the above definitions, a multitude of questions arise. Is there a definitive set of activities one can perform to produce a new object that has never existed before? Is creativity a natural function of all human beings, or is it conferred upon a fortunate (or unfortunate) few by some supernatural being? Is there a destructive aspect to the creative process? Is there even such a thing as creativity, or are we simply denying that we are imitating what we experience and rearranging an ever increasing collection of influences? By studying notable scientists and artists, religious and secular texts . . . and yes, even by studying ourselves, we will confront these questions and others to come to a better understanding of the creative process – what it is, where it comes from, who is responsible for it, why it is so vital to our existence, and how it can be used, misused and abused. Students will be responsible for reading and responding to various texts, as well as evaluating their own experiences with the creative process. In addition, students will critique, in a constructive and responsible manner, the creative processes of their classmates.
Texts: Ghiselin, Brewster ed. The Creative Process:Reflections on Invention in the Arts and Sciences. Csikszentmihalyi, Mihalyi. Creativity: Flow and the Creative Process.
Requirements: Students will be required to keep a journal recording their reactions to the course readings, group workshops, and their personal creative processes; present on the creative process of an artist of their own choosing; take a midterm; and submit a final creative project accompanied by critical essay.