SPRING 2013 COURSE DESCRIPTIONS

ENG 107-001  Introduction to Imaginative Writing
T 3:00-4:30
Julia Johnson

ENG 191-001  Literature and the Arts of Citizenship
TR 12:30-1:45
Andy Doolen

ENG 205-001  Intermediate Writing
MWF 10:00-10:50
Joshua Abboud
The title of this course comes from the idea that we can completely distinguish between “writing” and “multimedia writing.” Writing, however, is more complicated than that; it is signifies ways of framing and organizing knowledge. In this way writing becomes a hybrid practice of communication and collaboration.

Multimedia technologies represent both the tools with which we explore these practices and the subjects of our inquiries. Kenneth Burke refers to “logology” as studies of “words-about-words.” We will write with an eye toward examining language and writing, in a variety of media, channels, and platforms.

Multimedia writing, however, is more than just a supplemental method to alphabetic based writing; they represent different modes of thinking and doing. Digital spaces make it easy to mix media, allowing for the visual, the aural, and even the sensual to intersect at any point. Writing is an ongoing process of creation and change as it weaves through multiple digital formats and cultural contexts.  

We will examine and produce a wide range of artifacts including films, videos, websites, podcasts, photo essays, comics, electronic texts and architecture as models for our ideas of writing. We will focus our writing efforts on the design and function of electronic and digital modes for multimedia contexts in contrast to oral and literate models. There will be various writing projects throughout the course that explore inventive writing as a form of inquiry and analysis.

ENG 205-002  Intermediate Writing
TR 11:00-12:15
Staff

ENG 205-003  Intermediate Writing
TR 12:30-1:45
Staff

ENG 205-004  Intermediate Writing
TR 3:30-4:45
Katherine Rogers-Carpenter
In March 2012, talk show host Rush Limbaugh called Georgetown law student Sandra Fluke a “slut” and a “prostitute” because she testified before Congress in favor of insurance coverage for contraception.  Republicans and Democrats quickly attacked Limbaugh calling his words “indecent,” “obscene,” and “over the top.”  Although shocking, Limbaugh’s actions and the political responses to it are really nothing new.  American audiences expect media controversy to be associated with women’s health policies—especially policies connected to reproductive health and sexuality.  In ENG 205 we will explore what motivates controversies surrounding issues such as reproduction, cancer treatment, access to care, and aging.   The class will study key players in these debates, along with the rhetorical strategies they use to alter policies, public opinion, and individual attitudes.  Visiting speakers from relevant disciplines and two fieldtrips will enrich our investigations.

We will pay special attention to the following questions:  
•         What kind of language do we use to talk about women’s health?
•         How do individuals and groups view “women’s health issues”?
•         How are attitudes towards women and health reflected in different media?
•         Do such attitudes impede or facilitate access to care and treatment?
•         How does gender impact treatment?   
•         How does gender work with racial discrimination, or ageism to affect care?  
•         What role do socioeconomic factors play in policies about women’s health?
•         What role do businesses (like pharmaceutical and insurance companies) play in determining public health policies?  
•         What are healthcare rights?  What should women’s healthcare rights be?
•         How do international women’s healthcare initiatives connect to our own domestic policies?  How are healthcare and globalization connected?

Course Requirements:  Two major essays, one research presentation, one progress report, minor writings, formal peer reviews, short quizzes.

Required Texts:  
•         Crowley, Sharon and Debra Hawhee. Ancient Rhetorics for Contemporary Students, 2d ed. New York: Pearson Allyn & Bacon, 2008. Print.
•         Skloot, Rebecca.  The Immortal Life of Henrietta Lacks.  New York: Broadway Publishing, 2010.
•         Women’s Health Policy Report (subscription free) http://www.nationalpartnership.org/site/PageServer?pagename=report_daily

ENG 207-001  Beginning Workshop in Imaginative Writing: Fiction
M 4:00-6:30
Cheryl Cardiff
DEAR AUTHOR: THIS COURSE INTRODUCES YOU to the forms and practices of creative writing. Focusing on each individual, our workshop will develop the skill in writing stories and/or personal narratives. To help foster your work, weekly exercises will help you develop an understanding of the elements of the craft such as character development, narrative structure, dialogic engagement, and scene development. You also will be expected to read peer work with care and to discuss this writing with constructive, informed, and articulate criticism to specific elements of the text that go beyond simple like and dislike. The study of works by writers such as Annie Proulx, Jhumpa Lahiri, and Wallace Stegner in the context of craft—as opposed to literary interpretation or historical analysis—is a critical part of your artistic discipline and creative output. The main feature of the course is (of course) THE WORKSHOP itself, and you will have the opportunity to provide stories for peer evaluation three times over the course of the semester. Vital to writing is re-writing, of returning to your work and sculpting it into the shape you wish it to take. For your efforts, you will have the opportunity to further develop one workshopped piece for a second round of peer and instructor critique. As you practice becoming an effective and careful reader of both peer and established writing, you do become an effective and careful reader of your own. Writing, reading, and evaluating peer work all further your own creative practice. By the end of the term, you will feature your two workshopped stories and your choice of three shorter “best effort” writing exercises in a portfolio that you can be proud of, and one day, pass on to future progeny and fans.

ENG 207-002  Beginning Workshop in Imaginative Writing: Poetry
W 3:00-5:30
Julia Johnson
This class is devoted to creative writing by you and by others. It is a workshop-based class. You will be given writing assignments and readings designed to unleash your creativity and spark your powers of observation, imagination, and memory.  We will discuss the art and craft of writing poetry, and we will workshop one another's work with enthusiasm and care. We will read an extensive amount of work by modern and contemporary poets. Coursework will include poetry writing exercises, six revised poems, active participation, comments on the work of your peers, responses to readings, and a final portfolio of revised work.

ENG 207-003  Beginning Workshop in Imaginative Writing: Poetry
T 5:00-7:30
Frank Walker
This is a beginning course on the craft of understanding and writing poetry. Using a combination of lecture/demonstration, assigned reading, discussion, and peer evaluation with a focus on revision, students will focus on developing critical skills that govern the craft of writing poetry. Students will maintain a creative writing journal, build a portfolio of new and revised work, be required to submit original work for publication, and participate in a public reading.

ENG/LIN 211-001  Intro to Linguistics I
MWF 9:00-9:50
Andrew Byrd
This is the first semester of a sequence of introductory courses on the scientific study of human language. We will explore the idea that language is a structured object comprising the following components: phonetics, phonology, morphology, syntax and semantics.  All five of these aspects of language structure are offered as stand alone courses at the 500 level, and this course serves as a prerequisite for each.

ENG/LIN 211-002  Intro to Linguistics I
MWF 10:00-10:50
Andrew Byrd
See description for ENG/LIN 211-001.

ENG/LIN 211-003  Intro to Linguistics I
MWF 11:00-11:50
Michael O’Hara
See description for ENG/LIN 211-001.

ENG/LIN 211-004  Intro to Linguistics I
MWF 2:00-2:50
Michael O’Hara
See description for ENG/LIN 211-001.

ENG/LIN 211-005  Intro to Linguistics I
MWF 4:00-4:50
Michael O’Hara
See description for ENG/LIN 211-001.

ENG/LIN 212-001  Intro to Linguistics II
MWF 9:00-9:50
Jennifer Cramer
This course is the second semester in a sequence of introductory courses on the scientific study of human language. The purpose of the course is to expand your knowledge of linguistics through the study of various subfields of linguistics. Our focus will be on the main issues and problems in historical linguistics, pragmatics, and discourse; sociolinguistics; first and second language acquisition; and typology. This course will help you further develop your skills to analyze language structure and its use, and achieve a new understanding of this complex tool of human interaction.

ENG 230-001  Intro to Literature
MWF 1:00-1:50
Diane Campbell
Whether we see life as an odyssey and whether we journey literally, metaphorically, or both, we yearn to come home to ourselves. Throughout the ages literature has provided examples, promoted contemplation, and provoked inquiry concerning this quest. As we read The Odyssey, King Lear, A Doll’s House, Frankenstein, and Their Eyes Were Watching God, as well as poetry and short stories, we will explore how introspection, social class, cultural expectations, and relationships to people and places contribute to forming a sense of self, and whether for some arrival “home” remains permanently elusive. In pursuing this theme, we will endeavor to improve students’ ability to read, write, and think critically, and to navigate different genres and periods. Coursework will include two or three papers, quizzes and other daily work, and an examination.

ENG 230-002  Intro to Literature: The Imagined South
MWF 1:00-1:50
Craig Slaven
Each southern author imagines the South differently, but the cumulative effect of the southern literary tradition is that the region’s eclecticism has been buried under the projection of an essentialized southern experience.  How can southern writers depict a shared southern experience without neglecting the economic disparity, social inequity, and cultural diversity that exists in the region?  What is the difference between the imagined South and the “real” South?  By examining the literary works of a variety of southern authors—poets, playwrights, and novelists—we can consider both the passive role that literature plays in reflecting regional cultures and also the active role that it plays in shaping our perceptions of them.  In this introduction to literary analysis, students will learn how to conduct careful close readings of texts of different literary genres, and they will use these skills to explore a variety of literary representations of the South—its people, culture, customs, and history.  Assigned readings will include works by the following authors: George W. Cable, Charles Chesnutt, Mark Twain, William Faulkner, Richard Wright, Zora Neale Hurston, Robert Penn Warren, Tennessee Williams, Flannery O’ Connor, and Eudora Welty.

ENG 230-003  Intro to Literature: Battles of Good and Evil—Defining Devils and Unmasking Monsters
TR 9:30-10:45
Julie Naviaux
Literature often reflects both culture and the influences on culture. Using the theme of Good versus Evil, we will examine how society often creates exclusive and opposing groups--forcing one to view another as “monstrous.” This course examines issues of religious morality, ruling political powers, slavery, gender and sexual inequality, mental illness, and individual desires for power. Students will question how communities are formed through commonalities and how an individual is accepted (or excluded) from a community. This course seeks to introduce students to genres of literature including novels, plays, poetry, and short fiction. The course contains 4 units, each dealing with a Good versus Evil binary: "Christian-Based Right and Wrong," "Monsters of the Mind--and Body," "Devilish Politics and Law," and "Evils of the Individual--and Being Different." Texts for the course include Doctor Faustus, Strange Case of Dr. Jekyll and Mr. Hyde, A Raisin in the Sun, Tracks, and selections of short stories and poetry from authors such as Gabriel Garcia Marquez, Edgar Allen Poe, Sylvia Plath, and Toni Cade Bambara. Coursework includes 3 essays, a final exam, one presentation, and participation assignments.

ENG 230-004  Intro to Literature: Introduction to Drama
TR 9:30-10:45
Joyce MacDonald
This section of English 230 is subtitled "Introduction to Drama" In it, we will look at the origins, development, and history of this literary mode: how and why do people act out? How have theatres, acting styles, and the circumstances of performance changed over time? Why is playing such a culturally serious activity?  We will explore drama and performance across periods and cultures, develop a critical vocabulary for describing drama, and use our plays as raw material for our own critical writing and analysis. Plays will likely include Euripides' Medea, examples of medieval cycle plays such as the York Crucifixion or the Wakefield Second Shepherds' Play; Renaissance plays by Shakespeare and/or Marlowe; Restoration comedies such as The Rover or The Man of Mode; modern European and American plays, and a look at examples of modern world drama. Student work will include a combination of quizzes and in-class writing assignments, two short papers, an oral presentation and a final exam.

ENG 230-005  Intro to Literature: Metamorphosis in Literature
TR 11:00-12:15
Mary Clai Jones
Using Marina Warner's Fantastic Metamorphoses as a starting point, we will read, discuss and write about texts whose central characters undergo bodily as well as psychological metamorphoses. We will examine novels, short stories, and plays (possibly some poems and films) which portray metamorphic shifts in physical, psychic and emotional identity. Transformative identities are often the culmination of a collision between fluctuating ideologies, national boundaries and cultures. Students will be required to participate in class discussions, conduct close readings and analysis of texts, write short response papers, and write three essays of varying length. As we read about metamorphic processes in literature, we will contextualize works by discussing their historical, political, and cultural surroundings. Texts include: excerpts from The Metamorphoses by Ovid, Shakespeare's A Midsummer Night's Dream, a selection of Romantic poetry, Frankenstein by Mary Shelley, Alice in Wonderland by Lewis Carroll, Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, and The Metamorphosis by Franz Kafka.

ENG 230-006  Intro to Literature: Literature and Active Reading
TR 11:00-12:15
Seth Lee
How do you read? Slowly? Quickly? In silence? Aloud? Do you read alone, or do you surround yourself with any number of distractions? Perhaps it’s all of the above at different points. Classically, reading wasn’t simply something to do, or something you had to do. The ability to read set you apart from others. Reading was both a public affair and a means of self-betterment. More ominously, at several points in history reading the wrong books could lead you to a fiery, unpleasant death. This course is all about active reading. It introduces several “classic” literary genres - poetry, drama, and fiction - seeking to remove them from the realm of inaccessible, dead, and lifeless cultural artifacts.

We’ll begin the course reading the poetry of William Shakespeare, T.S. Eliot, Emily Dickinson, and others as a way of introducing you to active reading. From there the course turns to exploring the theme of fall and redemption across multiple genres in Sir Gawain and the Green Knight and a selection from The Canterbury Tales, two early but memorable English texts; John Milton’s Paradise Lost; Mark Twain’s comic The Diaries of Adam and Eve; Chinua Achebe’s Things Fall Apart; and William Shakespeare’s The Tempest.

Students should expect to write three analytical essays (approx. 3, 5, and 7 pages in length) and complete a midterm and final exam.

ENG 230-007  Intro to Literature: Outsiders and Misfits
TR 12:30-1:45
Eir-Anne Edgar
This course introduces students to the genres of literature, including fiction, poetry, drama, and creative nonfiction. We will focus on how literature reflects the position of the outsider, specifically in terms of race, gender, sexuality, and socioeconomic status.  In addition to literature, we will also examine music and film that connects to and builds upon many of the issues that arise in texts we will read. Some of the questions we will address include how individuals or groups are marginalized while others are reified within culture, how literature works as a tool to analyze and critique society, and how authors offer solutions to some of these problems, however seemingly fantastical they may be.

This course is writing intensive, which means that students will be creating a variety of writing, both in informal responses and in formal essays.  Class participation and discussion is an essential part of the success of this class. Students will create three major essays, growing in complexity and length as the course progresses. Students will also complete informal writing assignments, such as quizzes and reading responses.

ENG 230-008  Intro to Literature: Social Minds in Fiction
TR 12:30-1:45
Lisa Zunshine
We will read four novels belonging to different cultural and aesthetic traditions, paying particular attention to the representation of fictional minds in complex social situations. The reading list features Heliodorus’s An Ethiopian Romance (ISBN: 0812216725), Henry Fielding’s Tom Jones (ISBN: 0192834975), Cao Xueqin’s The Story of the Stone (volume 1: The Golden Days; ISBN: 9780140442939), and Jane Austen’s Emma (978-0553212730). The course requirements include several short response papers, two long papers, a midterm, and a final.

ENG 230-009  Intro to Literature: Metamorphosis in Literature
TR 3:30-4:45
Mary Clai Jones
Using Marina Warner's Fantastic Metamorphoses as a starting point, we will read, discuss and write about texts whose central characters undergo bodily as well as psychological metamorphoses. We will examine novels, short stories, and plays (possibly some poems and films) which portray metamorphic shifts in physical, psychic and emotional identity. Transformative identities are often the culmination of a collision between fluctuating ideologies, national boundaries and cultures. Students will be required to participate in class discussions, conduct close readings and analysis of texts, write short response papers, and write three essays of varying length. As we read about metamorphic processes in literature, we will contextualize works by discussing their historical, political, and cultural surroundings. Texts include: excerpts from The Metamorphoses by Ovid, Shakespeare's A Midsummer Night's Dream, a selection of Romantic poetry, Frankenstein by Mary Shelley, Alice in Wonderland by Lewis Carroll, Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, and The Metamorphosis by Franz Kafka.

ENG 230-401  Intro to Literature: Depictions of Madness
TR 6:00-7:15
Leah Toth
What are the markings of madness? What are its transformative powers? How do various cultures define insanity, and how are these definitions suggested in the works produced in those cultures? What are the suggested causes of madness in literary texts? What causes of insanity are considered acceptable by these societies? These are some of the questions we will ask as we use William Shakespeare’s King Lear as a starting point for analyzing depictions of madness in various literary genres including poetry, drama, short fiction, music, and film. Among the works we will analyze are William Faulkner’s “A Rose for Emily,” Akira Kurosawa’s Ran, Walker Percy’s Lancelot, and Henrik Ibsen’s Hedda Gabler. Students will gain experience exploring themes, making important connections between texts, and understanding the conventions of various genres. This class will also be an introduction to literary analysis through close reading and argumentative writing. Students will learn how to read closely, how to relate texts to contexts, and how to use basic literary terms and concepts. We will focus on student writing, particularly devising a thesis, crafting an argument, and learning how to use supporting evidence. Graded assignments will include three essays, a midterm exam and a final exam, and a combination of quizzes and in-class writing assignments.

ENG 234-001  Introduction to Women’s Literature
MWF 1:00-1:50
Ellen Rosenman
In this class, we’ll read a variety of lively, challenging, and divergent responses to a basic question: What does it mean to be walking around in a female body? In other words, we’ll try to get at the ways in which a variety of women writers imagined and represented being female in different times, places, and contexts.  We’ll approach that basic question in more specific versions: What does it mean to be walking around in a middle-class female body? An African-American female body? A beautiful body clothed in furs (my personal favorite)? To be walking around in the kitchen? On the street? In a college? In a harem?

Most of our texts will be written by well-known English and American women of the 19th and 20thc. centuries: Charlotte Brontë, Virginia Woolf, Harriet Jacobs, Charlotte Perkins Gilman. But we will also read two works by authors from other cultural contexts: Fatima Mernissi’s Dreams of Trespass, a memoir of growing up in a harem in Morocco in the early twentieth century, and Jhumpa Lahiri’s Interpreter of Maladies, a short story collection by a woman of Indian origin who was born in England and raised in the U.S. In addition to being great reads, these works will broaden our understanding of the shaping power of cultural context.

Written work will include a midterm, a final, and short response papers.

ENG 234-002  Introduction to Women’s Literature
TR 11:00-12:15
Rebecca Beach
In this class we will examine the great diversity of important works that women writers have produced by highlighting texts that fall into four thematic categories: women’s language, the politics of the female body, traditions of domesticity and romance, and formations of identity and difference.  Each of these topical threads will introduce students to a variety of literature that has given a voice to women’s individual and collective experience.  Our readings will be grounded in close textual analysis along with the study of historical and cultural contexts.  The course includes works by the following authors: Jane Austen, Charlotte Bronte, Toni Morrison, Kate Chopin, Sylvia Plath, and Virginia Woolf, among others.  Class work is comprised of three essays, a presentation, and reading quizzes.  

ENG 234-003  Introduction to Women’s Literature: Women’s Lives, Women’s Stories
TR 2:00-3:15
Devjani Roy
Do you find yourself wondering how women lived, thought, and wrote at different moments in history? Do you enjoy stories of love and marriage? Do you like reading novels such as Pride and Prejudice? Are you interested in the history of women’s education and women’s rights? Are you looking for a UK Core course to fulfill the Humanities requirement? As an introduction to women’s literature, this course will familiarize students with the issues and challenges confronting women in different historical periods. We shall read a variety of genres including poetry, prose fiction, and some non-fiction. We shall read an interesting range of texts from the sixteenth to the twentieth century, to broaden our vocabulary for thinking and writing about literature. I shall invite you to consider the literary traditions and cultural contexts in which these works were written. We will discuss questions of gender, sexuality, marriage, and class. Some of our readings include Mary Wollstonecraft’s A Vindication of the Rights of Woman, Jane Austen’s Pride and Prejudice, and Virginia Woolf’s A Room of One’s Own. Our work for this class will include formal essays, in-class presentations, weekly Blackboard responses, weekly quizzes, and two exams.

ENG 262-001  Western Literature 1660 to Present
MWF 12:00-12:50
Diane Campbell
In English 262 we will read several western world works from the Enlightenment era to the 20th century, focusing upon works of great literary merit which represent main elements in the evolving western culture. In this course we will engage the ideas and examine the evolving world view of these three hundred years, relating our discussions to our own ideas and values. This course satisfies the Graduation Writing Requirement, and therefore involves drafting, instructor review and peer review. There will be three papers, totaling 15 pages, minimum.

ENG/AAS 264-001  Major Black Writers
MWF 10:00-10:50
Matthew Godbey
This course explores African-American literature during the past four decades. Organized as an introduction to African American literature specifically and literary studies in general, the course will use the works of contemporary African American writers as a means of engaging key issues and developments in African American life and culture during the same period, and will introduce students to the tools of literary analysis. Analyzing the literary output of African American writers since 1975, the course stresses the variety of authors, styles and subjects that have emerged. Beginning with Octavia Butler’s Kindred and Kyle Baker’s graphic novel Nat Turner, we will begin the class by examining how recent authors have re-presented slavery to contemporary readers. From there, we will turn our attention to a writer such as Walter Mosley, and to see how writers are turning to popular genres as a means of engaging issues surrounding African Americans and the inner-city experience. The course closes with a new generation of writers, such as Colson Whitehead, as we explore contemporary issues related to race and race relations and draw some conclusions about changing attitudes surrounding them among both African Americans and Americans in general. Students will be expected to read 6 novels that will be supplemented by shorter, critical readings and samplings from other mediums such as film and music. Grades will be based on a combination of in-class participation and presentations, 3 major essays, and a final exam.

ENG/AAS 264-002  Major Black Writers
TR 11:00-12:15
Nazera Wright
This course will examine how many texts in the African American literary tradition are coming-of age texts, which are commonly called Bildungsromane. The Bildungsroman came into being in late eighteenth –century Europe as a novelistic form that traces the Bildung - the formation, education, development, socialization – of a young (white, male) protagonist as he matures and assimilates into the dominant norms of his society. This course will explore how African American authors appropriate the Bildungsroman and used the genre as a platform of protest to expose the racial, social and political conditions that robbed protagonists of a happy childhood. By examining critical strategies and aesthetics in a variety of prose, fiction and poetry, students will develop a deeper understanding of the Bildungsroman, discover whether authors accept or challenge the linearity of the genre’s conventions, and determine how gender qualifies representations of development. Texts will include W. E. B. DuBois’ The Souls of Black Folk (1903), Wallace Thurman's The Blacker the Berry (1929), Zora Neale Hurston’s Their Eyes Were Watching God (1937), Richard Wright’s Black Boy (1945),  James Baldwin’s Go Tell it on the Mountain (1953), Paule Marshall’s Brown Girl, Brownstone (1959), and Toni Morrison’s Sula  (1973).  Assignments consist of active class participation, two five-paged papers, a presentation and a final exam.

ENG/AAS 264-003  Major Black Writers
TR 11:00-12:15
Rynetta Davis

ENG 281-001  Introduction to Film
TR 11:00-12:15
Ashleigh Hardin
Since its beginnings, film has been a self-conscious medium, and today we have no shortage of films about making films, films about movie stars, films about Hollywood, and even films about other kinds of media and performance.  In this class, we will view a wide range of films with particular emphasis on this theme: from the classic (1952’s Singin’ in the Rain) to the contemporary (2011’s The Artist), across genres (from the neo-noir Drive to the fantasy-romcom of The Purple Rose of Cairo), and with consideration given to the difficulties of representing reality in different media (documentary in Exit Through the Gift Shop, TV versus film Network).

You will gain insight into the history of American and international cinema, as our class will situate the films we watch within their historical and cultural contexts, learning the basics of how films are made and distributed. You’ll be provided with the skills and vocabulary to begin critically interpreting film’s visual and narrative elements. You will also read critical secondary materials within the discipline of film studies. Through analysis of both visual and narrative elements, you will learn to closely “read” and interpret meaning beneath a film’s “surface”; identify films as participating in (or swerving from) traditions and generic conventions; and incorporate the arguments of scholarly sources into your own interpretations.
With these critical and evaluative tools, you’ll practice articulating interpretative arguments through individual and collaborative written and oral assignments.

ENG 281-002  Introduction to Film
TR 12:30-1:45
Todd Hendricks
In this course we study film as a narrative art and cultural document.  Viewing movies outside of class and then discussing them during class time, we examine how they exemplify the basic elements of filmmaking such as editing and cinematography and represent a wide range of genres, styles, and nationalities.  Included in our list will be films like The Gold Rush (1925), The Maltese Falcon (1941), Singin in the Rain (1952), Yojimbo (1961), Night of the Living Dead (1968), The Godfather (1972), Amores Perros (2000), Eternal Sunshine of the Spotless Mind (2004), and The Social Network (2010).  The goal here is to give the student a broad understanding of complex form and wide array of artistic choices made in constructing a motion picture.  This will ideally lead to a greater appreciation of and taste for quality films.  Each week we will focus on a specific film for viewing and discussion, and examine a portion of a film textbook to better understand abstract terms and concepts.  Grading will consist of viewing quizzes, midterm and final exams, and three essays.  

ENG 281-003  Introduction to Film
TR 3:30-4:45
Randall Roorda
I assume people take a course like this because they enjoy watching  movies and want to engage in and make sense of that experience.  So while film history, terminology, and technique will figure in our sessions, what we’ll stress will be response, whether emotional, analytical, critical, existential or what have you.   Studying film (or any medium of expression), you study your modes of response, moving back and forth between what you behold and what you bring: as an individual, a culture-bearer, a locus of desires, a sentient presence in a stream of time.  Presence in time will bear special relevance, since most of our movies won’t come from this day and age but will range over the century since a guy from Louisville figured how to make stories from moving pictures.  All these movies, though, will all have been made for pleasure—the leisure-time viewing of ordinary millions—which means that, whatever serious considerations obtrude, this should be a fun class.  Requirements include regular written responses, a couple short essays, and a take-home essay final.

ENG 281-004  Introduction to Film
MWF 1:00-1:50
Dan Howell
This is a basic introduction to the study of film.  We’ll look at film history, editing, cinematography, sound, genres, mise-en-scene etc.  Such examination will require you to learn and use a number of new terms while looking at movies analytically, which will entail viewing each of the assigned films (more than once), as well as discussing each film, taking notes, reading and discussing our textbook, and using our textbook  to help us “read” the “text” of  the film.  We will be studying at least a dozen films, which will include silent films, foreign films, black and white films, and R-rated films; you’ll see some of the world’s great films, and others that are merely outstanding.  Attendance and participation will be part of your grade, along with little weekly quizzes on each film.  You will also write short essays and take a comprehensive Final Exam.

ENG 281-005  Introduction to Film
TR 11:00-12:15
Walter Foreman
An introduction to the study of the movies as a narrative art and a cultural document, with emphasis on the former.  Movies will be chosen from a variety of genres, national cinemas, and time periods.  Viewing of films outside of class is required.

ENG 281-006  Introduction to Film
MWF 11:00-11:50
Dan Howell
This is a basic introduction to the study of film.  We’ll look at film history, editing, cinematography, sound, genres, mise-en-scene etc.  Such examination will require you to learn and use a number of new terms while looking at movies analytically, which will entail viewing each of the assigned films (more than once), as well as discussing each film, taking notes, reading and discussing our textbook, and using our textbook  to help us “read” the “text” of  the film.  We will be studying at least a dozen films, which will include silent films, foreign films, black and white films, and R-rated films; you’ll see some of the world’s great films, and others that are merely outstanding.  Attendance and participation will be part of your grade, along with little weekly quizzes on each film.  You will also write short essays and take a comprehensive Final Exam.

ENG 281-007  Introduction to Film: Based on a True Story: Film and Historical Memory
TR 2:00-3:15
Andy Doolen
Where is the line between fact and fiction, dreams and reality, in a motion picture? Many of us have learned more about history by watching popular films than by studying historical survey textbooks. This course will introduce students to the many ways in which films represent the past and shape our historical memory. Some of the films may or may not include On the Waterfront (1954), The Battle of Algiers (1965), High Plains Drifter (1972), The Godfather (1972), Chinatown (1974), Harlan County, U.S.A. (1976), Apocalypse Now (1979), Sherman’s March (1986), Matewan (1987), Amistad (1997), 4 Little Girls (1997), Dogtown and Z-Boys (2001), Jarhead (2005), Taxi to the Dark Side (2008), Milk (2008), The Hurt Locker (2009), and The Men who Stare at Goats (2009).  By watching, examining, and discussing such films, students will gain a deeper appreciation for how motion pictures tell “real” and “fictional” stories about historical events.  In addition to viewing films, students will write reviews, maintain a viewer-response journal, and read film criticism and history.

ENG/JPN 283-001  Japanese Film
TR 12:30-1:45
Douglas Slaymaker

ENG 301-001  Style for Writers
TR 2:00-3:15
Brandy Scalise
This course is designed for those who wish to improve their own writing style or the style of others. While the course may include some account of historical changes in prose style and require some stylistic analysis of literary texts, the emphasis is on editing contemporary prose, both in exercises and in the students’ own writing. Students will learn and practice principles such as economy, coordination subordination, precision, parallelism, balance, coherence, rhythm, clarity, and grace. Prereq: Completion of the University Writing (Composition and Communication) requirement and consent of instructor.

ENG/LIN 310-001  American English
MWF 11:00-11:50
Jennifer Cramer
This course provides a thorough examination of the varieties of modern American English, including regional, social, and ethnic varieties, gender differences in communication, pidgins and creoles, and stylistic variation. Students will be exposed to the history and methods of the study of American dialects, through course lectures and first-hand experience with linguistic data.

ENG 330-001  Text and Context: Eliza Potter
TR 9:30-10:45
Rynetta Davis

ENG 330-002  Text and Context: Lit in Victorian London
TR 2:00-3:15
Jill Rappoport
For the 19th-century authors this course examines, London was a place of contradictions. Center of a wealthy and expanding empire, it was also a site of filth, poverty, and crime. The city offered opportunity but also danger to its visitors and inhabitants; it showcased both civic reform and social scandal. Despite tremendous growth in population, the urban experience was frequently one of isolation and alienation.

In this course, we will explore the possibilities that Victorian London provided for the literary imagination. How did urban space shape, conceal, or reveal character? How did the different perspectives of tourist, detective, reformer, prostitute, or child help to construct popular ideas about London? What literary genres emerged out of the changing conditions of the city? We will read poetry, fiction, and essays by William Wordsworth, Augusta Webster, Charles Dickens, John Ruskin, Arthur Conan Doyle, Amy Levy, and others, mapping their literary and social projects within the rapidly changing spaces of an increasingly modern city.  The course has two primary aims: to introduce you to a range of key nineteenth-century authors and literary forms through close, critical reading, and to provoke your thoughtful assessment of the relationships between these Victorian texts and their urban cultural contexts. Requirements include active discussion, frequent response papers, two essays, and an exam.

ENG 330-003  Text and Context: Nineteen Eighty-Four
TR 11:00-12:15
Jonathan Allison
A course on the great modern novel, George Orwell’s Nineteen Eighty-Four (1949), read in the context of other writings by Orwell, including Animal Farm, The Road to Wigan Pier, Why I Write, and other essays.  We shall also read Thomas More’s Utopia and Aldous Huxley’s Brave New World.  Other contexts to explore include biographical, historical and political backgrounds. Relevant supplementary readings will be provided. We shall think about the critical reception of the novel, how it has been read over the last 60 years, and how its influence may be discerned in the work of contemporary writers. Class participation and attendance; quizzes; three papers; final examination.

ENG 330-004  Text and Context: Canterbury Tales
W 5:00-7:30
Matthew Giancarlo
In this section of “Text and Context” we will read large portions of the Canterbury Tales, Geoffrey Chaucer’s literary and cultural masterpiece from the late fourteenth century. We will approach the text from several different angles and contexts. We will learn to read Chaucer’s language in the original Middle English; read some scholarship on the literary and social setting of Chaucer’s England; practice close analytical reading of his poetry and style; and we will investigate some literary-theoretical paradigms as they apply to the perdurable charms of the Tales and its characters. This class is writing and reading intensive for English majors: four essays (with opportunity for revisions) for a total of about 20 pages; a few small quizzes on pronunciation and reading; no exams.

ENG 332-001  Survey of British Lit II
TR 12:30-1:45
Jill Rappoport
In this course, we will explore English literary history from the English Restoration to the present day, focusing on literature’s formal and thematic responses to—and effects upon—culture and society. Looking closely at exemplary works, we will examine a broad range of important Enlightenment, Romantic, Victorian, Modern, and Contemporary authors and consider the changes and continuities between their texts.

ENG 333-001  Studies in British Author or Authors: Jane Austen
TR 12:30-1:45
Michael Trask
A study of the greatest novelist in the English language.  We’ll read all her novels (Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Emma, Mansfield Park, Persuasion).  We’ll pay special attention to the development of Austen’s style, which became the dominant narrative mode of the novel after her (free indirect discourse); to her preferred theme (the marriage plot); to her context (the transition from the revolutionary 18th century to the industrialized 19th); and to the role that literary texts might be said to play within that context.  There will be a focus on gender issues, and there will be just as much focus on issues of class.  We’ll be guided by the strange fact that although Austen everywhere in her novels champions the wedding of genteel women of exquisite parts to their social superiors among the gentry or aristocracy, she herself was an unmarried woman who practiced a professional trade.  This mismatch between biography and art opens the door to a number of speculations about the tension between old and new classes, old and new gender arrangements, and old and new forms of representation. All of these Austen embodies, and all of these we shall explore.

ENG 334-001  Survey of American Lit I
MWF 12:00-12:50
Michael Carter
What are the voices of American Literature? What are the foundations upon which the modern understanding of “America” were built? This course will begin to answer those questions by examining the earliest words from the 16thth century up to the mid-19th century’s flourishing writers as these writers develop an understanding of what it meant to be an American. By reading the first Europeans to describe the continent as well as the stories from their Native American counterparts, we will begin to recognize the cultural and historical meanings of the words as they develop into the debates of the pre-Civil War era over what rights the Constitution actually granted to the men and women of this country. By recognizing the role of race, gender, religion, the enlightenment, and economic developments, the student should come away from the course with a better understanding of why many of these issues still echo today. The primary text will be volume 1 of The Norton Anthology of American Literature as well as readings from Hawthorne, Melville, Whitman, Poe, Thoreau, and others from the early 19th century. The grade for the course will be determined from several short writings, in-class quizzes and examinations, as well as attendance and participation.

ENG 335-001  Survey of American Lit II
MWF 11:00-11:50
Matthew Godbey
This course is a chronological survey of American literature from the Civil War to present day. Beginning with the literature of realism and naturalism that developed after 1865 and concluding with the variety of contemporary writers and forms including graphic novels and memoirs, the class tells a story about the development of American literature. To better tell this story, we will examine the intersection between American history and American literature and read and study works of poetry, fiction, and non-fiction by a range of men and women of diverse backgrounds and interests.  As we study the variety of voices that constitute American literature, we will address questions such as: How do the gender, race, and class of writers and readers affect the creation and reception of a literary text? What constitutes a literary canon?  What does “American” mean?  What role has literature played in the ongoing story of the culture and history of the United States?  How are the broad cultural movements of realism, naturalism, modernism, and postmodernism reflected in literary works and how do those movements shape the writing and reception of literature? What is the place of literature in the United States in the 21st century? To answer these questions, students will read shorter works drawn from the Bedford Anthology of American Literature as well as a selection of 3-4 longer novels. Grades for the course will be based on class presentations, two essays, and a final.

ENG 336-001  Studies in American Author or Authors: Toni Morrison
TR 9:30-10:45
Nazera Wright

ENG 340-001  Shakespeare
TR 9:30-10:45
Walter Foreman
An introductory survey of Shakespeare's plays, covering all forms (comedies, histories, and tragedies) and periods (early, middle, and late).  We will examine Shakespearean theater and performance (physical and philosophical architecture, performance as interpretation, visualization of written texts, audience as part of action, play as play); Shakespearean language and its relation to "truth" (arguments, meanings, metaphors, puns, verse, poetry: in short, wordplay); the way the structure of the plays produces meaning (function and order of scenes); the way words make characters, and the way characters interact, verbally and visually; and the social implications of the plays (for both the 16/17th and the 20th centuries) and the ways audiences (including ourselves) interpret the plays.  In making this survey, we will read a lot of plays (almost a third of Shakespeare's output) rather than studying a few intensively.  Included will be A Midsummer Night's Dream, The Merchant of Venice, Twelfth Night, Richard II, Henry IV Part 1, Othello, King Lear, Antony and Cleopatra, and The Winter's Tale.

ENG 381-001  History of Film I
TR 2:00-3:15
Pearl James
The beginning of cinema viewed from the end
 
2011 saw a spate of movies--The Artist, Hugo, My Week With Marilyn--that look back with great nostalgia to important moments in film history.  New digital and remote technologies threaten to make the traditional distribution of cinema (via the movie theater) obsolete; we may be witnessing the end of cinema as it has existed for over a century.  This course will begin with a consideration of current nostalgia, and then turn back to the past to look at the history and origins of film.  Major topics will include: cinema's place in a larger media & spectacle culture; the rise and demise of the studio system; and the transition to sound.  Requirements include: attendance and active participation, outside viewing and reading, quizzes, and three papers.

ENG 382-001  History of Film II
TR 3:30-4:45
Armando Prats

ENG 401-001  Special Topics in Writing: The Essay
TR 9:30-10:45
Randall Roorda

ENG 401-003  Special Topics in Writing: Literary Journalism
MWF 1:00-1:50
Beth Connors-Manke
The art of fact. Most anthologies of literary journalism begin by trying to define the genre, but mostly end up explaining how literary journalism dodges the constrictions of traditional journalism while still adhering to some sense of factual truth. Dodging is a form of play, and the genre certainly does play: with the boundaries of fact and fiction, voice and style, narrative and truth. One strain of literary journalism, embodied by the New Journalists and proclaimed by Tom Wolfe, believed that non-fiction—not the novel—had become “the most important literature being written in America today.” That’s a pretty grand statement, and we’ll spend the semester discerning if Wolfe is right. And, if he is right, why non-fiction has such a strong pull in the twentieth century. First, we’ll look back to some pioneers (Charles Dickens, Stephen Crane, Jack London), and then we’ll consider other innovators closer to our time (Lillian Ross, Tom Wolfe, Truman Capote, Joan Didion, Martha Gellhorn, Michael Herr, and John McPhee). Along the way, we’ll try our own hand at this intensively experiential and highly researched form of writing. We’ll also consider how digital innovations in sound recording and video can transform the genre yet again. Coursework will include frequent shorter papers, a longer paper, and a digital project.

ENG 407-001  Intermediate Workshop in Imaginative Writing: Screenwriting
R 4:00-6:30
Tom Marksbury
Intended not so much as an introductory course but as a more intensive and ambitious upper level workshop, designed for students who are interested in launching, critiquing, and following through as far as possible on an extended project in the screenplay form. Working outwards from the bare bones of the individual “beats” and the isolated scene, we’ll try to build on that earliest connective tissue and develop a larger structure. By the end of the semester, you’ll be expected to have nailed together the treatment for a feature-length screenplay and a revised version (90-120 pages) of the three acts which would comprise it. We’ll run sections of your writing through the workshop and you’ll be expected to revise, enhance, and polish it as much as possible. Regular attendance, an openness to sincere and constructive criticism and a willingness to provide it are a must. In addition to the central writing project, we will discuss a number of films which will serve as paradigms in terms of construction, tension and resolution, dialogue, character development, etc. I hope this will help us to think in more pragmatic terms of what screenplays can and cannot accomplish.

Required, more as a reference on format than anything else, but essential for that reason, is The Screenwriter’s Bible, by David Trottier, 4th edition.

ENG 407-003  Intermediate Workshop in Imaginative Writing: Creative Nonfiction
R 4:00-6:30
Erik Reece
The term "creative nonfiction" asks us to begin thinking of the "essay" as a "story" that uses many narrative devices of fiction-writing to not only tell the truth, but to shape the truth. The goal of this course is to help students craft essays that make art out of experience. We will focus on establishing voice, creating a sense of scene, rendering complex portraits of people, recreating dialogue, pacing the narrative, editing for conciseness and clarity--all in the service of the question: “What is the story here?”

ENG 407-401  Intermediate Workshop in Imaginative Writing: Fiction
T 6:00-8:30
Gurney Norman
English 407 Fiction is an intermediate-level course designed to give students practice in writing fiction including short stories, novels and first-person personal narratives. The class meets once each week for two and one-half hours. The longer hours allow the class to proceed in a relaxed atmosphere featuring in-class writing exercises, discussion of students' original writing, discussion of traditional and contemporary fiction by established writers and a series of brief lectures by Professor Norman, one of the most experienced teachers of creative writing in the country. Students will be asked to produce four or five pages of first-draft (newly written) work each week and three polished "best effort" stories or chapters during the semester. Students are encouraged to experiment with different styles and methods of fiction writing including explorations of digital writing. Required texts include the Norton Critical Edition of Anton Chekhov’s Short Stories and one short novel, to be assigned.

ENG 481G-001  Studies in British Lit: Modern British Novel
TR 9:30-10:45
Jonathan Allison
A course on modern British fiction during the second half of the twentieth century, including nine works of fiction regarded as classics of the period. We shall read the following: Kingsley Amis, Lucky Jim; William Golding, Lord of the Flies; Alan Sillitoe, The Loneliness of the Long Distance Runner; Iris Murdoch, A Severed Head; Muriel Spark, The Prime of Miss Jean Brodie; Angela Carter, The Bloody Chamber; David Lodge, Small World; Martin Amis, Money; Penelope Lively, Moon Tiger. Please come prepared to read these novels as well as a substantial amount of literary criticism and various essays on social and cultural history. Requirements: class participation and attendance; quizzes; three papers; final examination.

ENG 481G-002  Studies in British Lit: Ovid in Renaissance Literature
TR 11:00-12:15
Joyce MacDonald
Ovid was Shakespeare's favorite classical poet, and his influence is everywhere in Renaissance literature. In this section of English 481, we will look at how a range of Renaissance poets and playwrights--Marlowe, Sidney, Spenser, Lyly, Donne and Milton as well as Shakespeare-- responded to Ovid's works. We will also read sections of Ovid's most influential works, the Metamorphoses and the Amores, in Renaissance translations (no Latin is required for the class). Our inquiries will focus on identifying the elements of Ovidian style that the Renaissance found so appealing, on figuring out the kinds of creative exchanges Renaissance poets made with Ovid, and on tracing the significance of Ovidian ideas about love, sex, the body, and history in Renaissance literature. Two papers, two exams, and an oral presentation.

ENG 482G-001  Studies in American Lit: War Poetry
TR 2:00-3:15
Armando Prats
In a famous essay entitled “The Moral Equivalent of War” (1906), the great American philosopher, William James, attempted to explain the human ambivalence toward war by recourse to a paradox:

Ask all our millions, north and south, whether they would vote now . . . to have our war for the Union expunged from history, and the record of a peaceful transition to the present time substituted for that of its marches and battles, and probably hardly a handful of eccentrics would say yes. Those ancestors, those efforts, those memories and legends, are the most ideal part of what we now own together, a sacred spiritual possession worth more than all the blood poured out. Yet ask those same people whether they would be willing, in cold blood, to start another civil war now to gain another similar possession, and not one man or woman would vote for the proposition.

As a pacifist, James was unique because, though he detested war, he understood deeply the allure that war has historically held for the young of every generation (and for the old men and women who so cheerfully send them off to war). He knew, then, that any effective effort to avert war in his time would have to offer the young a purpose, a mission—one to which they could unambiguously devote their lives, and toward which they could direct their best energies with the same high zeal that they have heretofore reserved for war and the military (hence “the moral equivalent of war” and “the moral equivalent of war”).

This course proposes that the poetry of war, at its best, reflects with unsurpassed sophistication and complexity—with a terrible beauty, really—the paradox that James puts forth in his essay. The awesome emotions of war, the terrifying insights that it can produce, the anguished yet transcendent testimonies of those who experience it and write poetically about it—these find their highest and truest expressions not in historical accounts or in prose fiction or even in memoirs but in poetry (none of which means that prose fiction, memoirs, and even history cannot be poetic). The poetry of war celebrates the glory of war, the honor of fighting in it, the palpable sense of shared purpose, of selfless sacrifice, of unbounded love of country. Yet the poetry of war also engages, and with undiminished assiduity and fervor, those other things about war—the dark and dread “things” that exist and unfold side by side with “duty, honor, country”—namely, the horrors, the degradations of the human spirit, the enforced surrenders to unimaginable cruelty, the remorseless (even tiresome) enactments of tragedy, of inconsolable and everlasting grief, the waste. Yet the poetry of war confronts these “things” almost mystically, at times even in a form that rescues and redeems the tragic from its finality.  

We will therefore study poetic testimony—the insight and the inspiration of those who refuse to betray their experiences to a norm, who recapture their humanity by confronting (humbly yet courageously) war’s unremitting inhumanity—rather than the poetry that merely conforms to cultural myths and breaks faith with the individual’s testimony only for the sake of perpetuating the self-delusions of nations.    
    
We will use (for lack of a more comprehensive text) the Oxford Book of War Poetry and will supplement it with handouts of other poems, of essays, of fragments of books, and so on. In addition, partly as a sort of experiment, I would like to require a beautiful yet unassuming book—a participant’s account of the Second World War battles for Peleliu and Okinawa, With the Old Breed (by E. B. Sledge).

Class participation, quizzes, essay midterm, essay final.

ENG 483G-001  Studies in African American or Diasporic Literature: Passing
M 5:00-7:30
Vershawn Young
The July 17, 1952, weekly issue of the African American Jet Magazine featured the article “Why Passing is Passing Out” with the subtitle: “Negroes Refuse to Pass.” Literary critic Gayle Wald terms this a “post-passing narrative” (Crossing, 2000) since apparently there was a hopeful period during the civil rights movement, as Jet explains, when “an increase in better race relations” lead to “a corresponding decrease in the number of Negroes forsaking their race to become white” (10). However, a proliferation of memoirs and biographies written some 40-50 years later reveal that light-skinned blacks such as the New York Times reviewer Anatole Broyard still passed.  This seminar then is a meditation on a tradition: racial passing in American culture and literature.  

This course will examine both the fictional (e.g., drama, film, novels) and factual (memoir, history, news) narratives by contemporary American authors who are substantially concerned with depicting the experiences or effects of racial passing after the period of legal segregation. Such narratives may include Patricia Jones’ novel Passing (1999), the documentary series Black. White (2006), Bliss Broyard’s autobiography One Drop (2007), the Wayans’ film White Chicks (2004), the musical Passing Strange (2009), and Daniel Sharftein’s history “The Invisible Line” (2011).  

Seminarians will grapple with questions such as the one raised by critics, Thadious Davis and Mae Henderson, in their treatments of Larsen’s classic novel, Passing (1929): ‘Why does passing still exist’?  And why is it of popular cultural and literary interest? Thus this is a cultural studies course that examines the aesthetic, literary, and social together.

Students will be responsible for:
(1)    An oral presentation on a classic “passing narrative” (19th or early 20th century)
(2)    Co-lead one class discussion either with the instructor or another seminarian
(3)    Weekly response papers in the form of critical queries of 1.5-2 pages
(4)    A seminar paper no shorter than 15 prose pages

ENG 486G-001  Studies in Theory: Rhetoric Between Athens and Jerusalem
(Same as HJS 425-001)
TR 9:30-10:45
Janice Fernheimer
Rhetoric is a powerful, architechtonic art that often gets maligned in colloquial English by its association with “bullshit” or empty speech.  Yet the tenets of rhetorical theory have allowed for both the analysis and production of powerful symbolic texts for thousands of years. In this course we will investigate the history of rhetoric in Ancient Greece and Israel to explore the productive space between Greco-Roman and Jewish/Hebraic rhetorical traditions. We will also learn about contemporary debates in rhetorical historiography as well as contrastive and comparative approaches to studies in rhetorical history and theory.
Students will write several short reading response essays, a mid-term, and a major research project.
 
By the end of this course, students will
•      Gain familiarity with classical Greek and early Jewish rhetorical traditions
•      Identify key terms and concepts in classical Greek and Jewish rhetorical traditions.
•      Compare/contrast culturally situated concepts of rhetoric.
•      Discuss key debates in rhetorical historiography.
•      Practice (and ideally improve!) research and writing skills.
 
Required Texts and Materials may include: Aristotle’s Rhetoric, Aristotle’s Nicomachean Ethics, Plato’s Gorgias,  Plato’s Phaedrus, Megillat Esther, Deuteronomy (also known as Devarim in the Torah), and other readings.

ENG 507-001  Advanced Workshop in Imaginative Writing: Poetry
W 5:00-7:30
Nikky Finney
An advanced poetry course focused on how to imagine and build poetry using explicitly what the poem needs, and calls out for. The map of each original poem, made for class, is created by learning to choose, connect, feel, omit, change direction, research, and pay close attention to every choice the poet makes. This workshop is for the curious, unafraid, thoughtful, dutiful, student poet who loves to read poetry and wishes to be mindful of the physical creative process involved in making it, while maintaining a personal passionate allegiance to the wondrous inner life of words and ideas. This workshop is ideal for the student poet who believes that writing a poem involves as much midnight oil and hard work as math, science, literature, or chess. Imaginative Writing 207 or 407, or some equivalent course is a pre-requisite. Attending the first day of class is mandatory.

ENG 507-401  Advanced Workshop in Imaginative Writing: Fiction
W 6:00-8:30
Gurney Norman
Professor Norman’s English 507 Fiction Writing class is designed to be of interest and perhaps of use to students interested in writing. The premise of the course is that most people tell a story to someone almost every day (often in the form of gossip). The impulse to create a written version of our stories is entirely natural; so is making up stories from whole cloth. For this particular course in Spring 2013, students will be asked to write three original short stories, novel chapters or personal narratives of about three thousand words as well as several shorter exercise pieces in and out of class. Fellow class members form an audience of peers for those wishing to present new work to the class for collegial discussion and critique, but this is not required. Students will be asked to read and discuss short stories by Anton Chekhov, Raymond Carver, and Bobbie Ann Mason and to watch and participate in discussions of three episodes of the television show, Law and Order.

ENG/EDC 509-401  Composition for Teachers
W 6:00-8:30
Brandon Abdon

ENG/LIN/ANT 515-001  Phonological Analysis
MWF 12:00-12:50
Andrew Byrd
This course investigates the systematic properties of speech sounds in natural languages. It compares both rule- and constraint-based theoretical approaches to the analysis of individual features, sounds and prosodic units, and identifies the dimensions of typological variation in the phonological domain. Discussion includes extensive reference to languages other than English.