Spring 2018 Courses

Instructor: Erik A. Reece
001-006: Lecture MW 11:00:00 AM-11:50:00 AM
001 & 005: Discussion F 10:00:00 AM-10:50:00 AM
002, 003, 006: Discussion F 11:00:00 AM-11:50:00 AM
004: Discussion F 12:00:00 PM-12:50:00 PM
This course introduces students to the fundamentals of creative writing: imagery, character, setting, narrative, voice. We will examine and deploy these devices in three different genres: poetry, fiction and nonfiction. This is a course in reading as well as writing creatively.
Instructor: Manuel Gonzales
007-010: Lecture MW 12:00:00 PM-12:50:00 PM
007: Discussion F 11:00:00 AM-11:50:00 AM
008 & 009: Discussion F 12:00:00-12:50:00 PM
010: Discussion F 1:00:00 PM-1:50:00 PM
What can creative writing do for you? Break your heart, make you laugh, teach you about life, love, death, despair, joy, pain, and everything in between. This course will tackle -- in broad strokes -- the craft of creative writing, focusing on poetry, fiction, and creative nonfiction. We'll talk about character, voice, theme, description, dialogue, truth, what lies behind truth, beauty and what comes before beauty. You'll read contemporary and classic works of fiction, poetry, and creative nonfiction, while trying your own hand at writing all three. Each section will also participate in weekly mini-workshops where students will submit their own works and critique the work of their classmates.
Instructor: Frank X. Walker
011: TR 12:30:00 PM-1:45:00 PM
This course is designed to offer an introduction to the genres and craft of imaginative writing, including fiction, nonfiction, and poetry. Students will study and practice writing in various modes through composition, peer critique, and research. This is an introductory course in creative writing for the novice. Participants will examine, discuss and put into practice how poetry and prose can express ideas and emotions. Classes will consist of large lectures and discussion and crafting in smaller groups. Some sessions will occur online.
ENG 130: LITERARY ENCOUNTERS: Classics of Modern Science Fiction
Instructor: Matthew Giancarlo
001: MWF 10:00:00 AM-10:50:00 AM
Since the 1940’s and 50’s, science fiction (now sometimes called speculative fiction) has emerged as an important genre in both popular and literary forms. In this section of ENG 130 we will read several modern classics of the genre. Authors and texts may include Frank Herbert’s Dune, Ursula LeGuin, Philip K. Dick, Isaac Asimov’s Foundation, Margaret Atwood’s Oryx and Crake, and others. Discussion will cover topics including the power of technology to shape imaginative worlds; the nature of the “human”; and the ways futuristic storytelling can be used to comment on contemporary events. Work will include regular quizzes and essay papers.
ENG 130: LITERARY ENCOUNTERS: Tales of Villainy
Instructor: Michael Genovese
002: MWF 11:00:00 AM-11:50:00 AM
How often have you been reading a book and the bad guy seems so much more appealing than the forces of good? Or how often have you wondered whether the villain in the book is really so guilty of wrongdoing? Is the "good guy" really so clearly beyond reproach? In this course we will explore plays, novels, short stories, and poems in which villains clearly emerge, but our goal will be to look beyond good and evil. What is the nature of the villainy? What is its significance? Does the bad character represent something bigger than himself, or is he an anomaly? Is evil always some version of the same thing, or does it work differently depending on the context? How does the literature contain the threat he or she poses, and are you buying it? Readings will be drawn from British and American sources from the Renaissance to the twenty-first century. The class will feature a few papers as well as a midterm and final exam.
ENG 130: LITERARY ENCOUNTERS: Vampires on Page and Screen
Instructor: Michael Carter
003: MWF 12:00:00 PM-12:50:00 PM
Blood. Seduction. Sex. Eternal life. What more could describe the appeal of the vampire in today’s popular culture? From the folktales of the Carpathian Mountains, and early 19th century literature comes one of the most enduring creatures to capture the audiences: vampire, Dracula, night walkers. This undead creature has its roots in Romanian folklore and history as Vlad Tepes, or Vlad the Impaler, and found its way into short stories and novels, early and recent films, and television. This class will examine the roots and the ongoing literature and visual media that indeed gives the vampire life eternal. Coursework will include readings and two 5-6 page creative nonfiction essays, one collaborative project (a web page or other presentation), as well as shorter writing and discussion assignments.
ENG 130: LITERARY ENCOUNTERS: Banned Books: From mid-19th Century to Today
Instructor: Michael Carter
004: MWF 1:00:00 PM-1:50:00 PM
Why are school districts and some parents afraid of Harry Potter, Huckleberry Finn or others? Why are certain works and their characters’ words either avoided or expurgated to gain admittance into the corridors of high schools and libraries? This course will read these works and examine the historical and cultural reasons for the books’ being challenged in the past or today. Poems such as Whitman’s “Leaves of Grass” and Ginsberg’s “Howl” have rallied opponents to suppress their inclusion in anthologies. We’ll try to redeem or reject these texts through close readings and research into the complaints about the books and into the themes of the texts. Coursework will include readings and two 5-7, one collaborative project, as well as shorter writing assignments.
Instructor: Jill Rappoport
005: TR 9:30:00 AM-10:45:00 AM
This course will introduce you to ways of appreciating and thinking critically about a range of compelling poetry, short fiction, and drama. We will focus our discussion around the theme of “fallenness,” a category whose significance—sexual, religious, economic, ethical—has varied across time and texts, from the biblical tale of Adam and Eve through the mythological fall of Icarus to more recent 19th- and 20th-century accounts of sexual “deviance,” imperialism, and war. Literary representations of “falling” and the solutions they pose reveal their culture’s dominant anxieties. As we explore how people have been thought to “fall” from one state of being to another, we will consider the stakes of these depictions and the way that authors from Ovid, Milton, and Auden to Rossetti, Wilde, Komunyakaa, and Borowski, have played with social categories and literary forms to make powerful statements about the significance of literature and the strength of the human spirit.
ENG 130: LITERARY ENCOUNTERS: American Road Narratives
Instructor: Andy Doolen
006: TR 12:30:00 PM-1:45:00 PM
This course explores the significance of the road narrative in American culture. Experiences of travel have provided writers, artists, filmmakers, and musicians with many opportunities to test themselves, to remake their identities, and to imagine new futures unencumbered by the past. The road narratives that we will study are essentially about a journey towards self-discovery, but this pervasive theme is inspired by the author’s irresistible desire to break free from society’s restraints—from poverty, racial segregation, and stifling hometowns, to sexism, geographical isolation, and the moral prohibitions of an older generation. Stories about the road often dream of freedom and possibility, even as the author, ironically enough, is being forced into exile. We will pay close attention to how the unique experiences of race, class, gender, and citizenship influence the themes and issues of road narratives. The course will examine a range of texts, including literature, film, photography, art, and music.
Instructor: Cheryl Cardiff
007: TR 3:30:00 PM-4:45:00 PM
This course introduces students to literary works of various styles that deal with current subjects and creative applications. Topics vary by semester and are chosen to give a broad-based understanding of literary works, genres, creative techniques, or cultural trends (e.g., Literature and Other Art Forms; Film, Art, & Social Protest; Creative Writing, Mixed Media, & Social Media). See departmental listings for different offerings per semester. Fulfills ENG premajor requirement or provides ENG Major or Minor Elective credit
Instructor: Randall Roorda
001: TR 11:00:00 AM-12:15:00 PM
During your time at UK you’ll be exhorted to study abroad, a reputedly life-changing experience. You may select a major to find work conducing to prosperity enabling you to take momentous, elaborate vacations. Your work may itself depend on travel and tourism, touted as one of the world’s largest industries, encompassing high commerce and falafel-stuffing alike. It may dawn on you how the whole planet has come to be construed as a ranked set of destinations, with your life a contest scored by the number and status of those you visit, as if it were one of those maps bristling with pushpins hung by the toilets in a tourist restaurant. How are you to comprehend and participate in this dispensation? Where did it come from? Where is it headed? What itinerary can you plot for your longings? In this course we’ll inquire and insert ourselves into this picture, taking travel as a topic, a key term, and an activity characterized by movement and discovery. We’ll pose such questions as these:

• How has travel unfolded as a theme, term, and phenomenon in history and culture (over the last two or three centuries, especially), in relation to such notions as tourism, leisure, explorer, adventure, authenticity, the exotic, experience, and home?
• What do we mean when we talk about travel writing? How do episodes of travel get imagined, initiated, conducted, converted into texts, and transmitted to others in social situations?
• How do preformed expectations direct and inform travel experience, considering that travel is supposed to confound expectations? How do we finesse this conundrum?
• Do you suppose there’s a place that’s your own true home, only you haven’t been there yet?
• Where did you go during summer vacation? Where do you want to go next? How can you be in two places at once when you’re not anywhere at all?

I’m hoping for a course akin to a good trip: active, stimulating, diverting, out of the ordinary; its itinerary sketched out but open-ended and subject to change; stressful and disorienting at times yet finally eye-opening, mind-expanding, memorable and fun.
ENG 180: GREAT MOVIES: Man and Machine
Instructor: Matthew Godbey
001-002: Lecture MW 11:00:00 AM-11:50:00 AM
001: Discussion F 11:00:00 AM-11:50:00 AM
002: Discussion F 12:00:00 PM-12:50:00 PM
This semester, we’re going to explore one of the most popular storylines in movies, and one that is incredibly relevant to life today: humans and their relationships to machines. Technical marvels themselves, movies provide filmmakers with a perfect medium for telling stories about our relationship to technology, whether in the form of machines, computers, robots, cloning, etc. Over the course of the semester, we’ll explore this rapidly evolving relationship by watching a variety of films drawn from diverse time periods and genres. Whether its movies dealing with artificial intelligence and the nature of humanity or our emotional attachment to man-made marvels, we’ll range far and wide through the history of cinema and see what these movies can tell us about the ever-changing and always-complicated world of man and machines.
ENG 180: GREAT MOVIES: American Films of the 1950s
Instructor: Alan Nadel
003: TR 11:00:00 AM-12:15:00 PM
We will examine very closely eight American films made in the 1950s: The Ten Commandments, Singin’ in the Rain, Gigi, Shane, The Searchers, No Way Out, The Defiant Ones, and North by Northwest. Our goal will be to understand how all the elements of filmmaking—script, cinematography, editing, mise-en-scene—are employed in in film to produce its meanings and effects. We will also attend closely to the ways in each film reflects the social and cinematic conventions and the cultural themes of its historical moment. Requirements: eight short quizzes, three multiple-choice exams, and a comprehensive final, posted questions and comments.
Instructor: Evan Kabrick-Arneson
001: MW 3:00:00 PM-4:15:00 PM
The purpose of this course is to provide students an opportunity to explore and practice the basic elements of fiction writing with a focus on the short story. Students should leave the class with a basic understanding of the core elements of style and technique (character, plot, narrative structure, point of view, setting, voice, imagery, etc.), the ability to recognize how these elements function in published fiction, and the ability to put those elements to practice in their own fiction.
ENG 207: BEG WKSP IMAG WRIT: Nonfiction
Instructor: Austyn Gaffney
002: TR 2:00:00 PM-3:15:00 PM
A beginning workshop in the craft of nonfiction writing, this course engages students with reading critically and revising their work. The students provide an audience for each others’ work. Exercises involve practice in aspects of craft and promote experimentation with different forms, subjects, and approaches; outside reading provides models and inspiration. May be repeated under different subtitles to a maximum of 6 credits. Does not fulfill ENG premajor requirement. Provides ENG Major Elective credit and ENG minor credit. Required for ENG Imaginative Writing Option.
Instructor: Austin Baurichter
003: MWF 10:00:00 AM-10:50:00 AM
A beginning workshop in the craft of reading and writing fiction, teaching students how to begin building stories and how to read fictional work critically, and with an eye for craft. Students act as audience for each other's work, as student pieces will be discussed in a workshop setting. Class work will involve reading outside writing as both a source of inspiration and a vehicle to discuss craft and technique. Exercises will involve different aspects of reading for craft as well as experimenting with different forms, structures, subjects, and approaches.
Instructor: Gurney M. Norman
401: T 5:00:00 PM-7:30:00 PM
English 207 Fiction is an introductory creative writing class designed to offer the student a laboratory situation in which she or he may develop fiction writing and reading skills. Class members provide a sympathetic audience for each student’s work-in-progress. During the semester students are asked to write three original short stories (or chapters or personal narratives) to be turned in at the beginning of each month for detailed critique by the professor. At least once during the semester each student will be invited (but not required) to present a story to the class for peer critique. Between the major writing assignments, students will be asked to perform weekly in-class and out-of-class writing exercises designed to give the student practice with various story elements and techniques such as dialogue, description, characterization, plot, and point of view. Such exercises usually take ten or fifteen minutes to complete and result in about two pages or six hundred words of “practice” writing. Counting the exercises, typically a student will produce 30-40 or more pages of original work during a semester. At semester’s end the student’s polished stories, samples of the writing exercises as well as written commentaries on some of the assigned readings are to be submitted as a portfolio to the professor.
Instructor: Dorian Hairston
402: W 5:00:00 PM-7:30:00 PM
This course is aimed at helping students understand the fundamentals of poetry. Throughout the semester we will explore a plethora of forms ranging from manifestos to haikus, to a contrapuntal. Students will be exposed to contemporary poetry and asked to create their own original work. This class is a workshop and students will be required to give feedback on each other's poetry. Students will also have the opportunity to share their work in a public reading at the end of the semester.
ENG 230: INTRO TO LIT: Family Secrets, Family Ties
Instructor: Anna Stone
001: MWF 9:00:00 AM-9:50:00 AM
002: MWF 10:00:00 AM-10:50:00 AM
Family: it makes us, shapes us, and sometimes breaks us. Leo Tolstoy famously said that "all happy families are alike; each unhappy family is unhappy in its own way." But we're going to challenge this statement--what if it's more complicated than simply "happy" or "unhappy"? What about when love and blame occupy the same space? How much do our families shape us, and to what degree can we ever escape? When do we blame the people that raised us, and how much responsibility do we take for who we become? Literature has been dealing with these questions for a long time (millennia, in fact); from sibling rivalry to authoritarian parents to struggling single moms, this class contains more drama than an entire season of The Jerry Springer Show. Join us this semester as we use literature to examine and question the ways family creates us—and to what extent we create our families. 
ENG 230: INTRO TO LIT: Dystopian Fiction
Instructor: Nicole Trobaugh
003: TR 9:30:00 AM-10:45:00 AM
004: TR 11:00:00 AM-12:15:00 PM
In our world of combative politics, why do tales like 1984 fascinate us? Why are stories about violence, hunger, and ever-present surveillance so popular? What do current trends in Young Adult dystopian fiction say about today’s youth? In this course, we will seek to answer these questions by exploring works like Suzanne Collins’s The Hunger Games, Cormac McCarthy’s The Road, and Margaret Atwood’s Oryx and Crake along with a few other popular, dystopian works.

This class will be an introduction to literary analysis through close reading and argumentative writing. The course involves studying selected fictional texts and investigating a unified theme or set of topics. Students will learn how to read closely, how to relate texts to contexts, and how to use basic literary terms and concepts. Attention will be paid to student writing, particularly devising a thesis, crafting an argument, and learning how to use supporting evidence.
Instructor: Matthew Giancarlo
001: MWF 11:00:00 AM-11:50:00 AM
A survey of British literature from the Anglo-Saxon period to the later seventeenth century, with emphasis on different genres, periods, and cultural characteristics of the early English literary tradition. Texts and authors covered may include Beowulf and Old English elegiac poetry; Middle English poetry and selections from Geoffrey Chaucer’s Canterbury Tales; Renaissance lyrics, sonnets, and narrative poetry; the drama of Shakespeare; selections from John Milton’s Paradise Lost; and more. Lecture. Fulfills ENG major Historical Survey Requirement and Early Period requirement. Provides ENG minor credit. Credit will not be given to students who already have credit for ENG 331.
Instructor: Michelle Sizemore
001-002: Lecture MW 12:00:00 PM-12:50:00 PM
001: Discussion 11:00:00 AM-11:50:00 AM
002: Discussion 12:00:00 PM-12:50:00 PM
Emily Dickinson. Frederick Douglass. Hannah Foster. Edgar Allan Poe. Phillis Wheatley. Herman Melville. (And many more). In this survey of American literature from its origins through the Civil War, we will cover authors whose names have become synonymous with early American literature, as well as authors whose names you have never heard but will long remember after reading them. A course that spans over four centuries must be selective. We will therefore focus on key literary problems and developments during this period and the social conditions in which this literature was produced—colonization, slavery, revolution, the emergence of women’s rights. Our guiding approach to “America” and “American” literature is through multiple “contact zones”—social spaces of interaction and exchange wherein diverse participants negotiate geographical, social, political, and literary boundaries. This framework opens up a range of topics for our consideration, from the dynamics of colonial encounters to canon formation and reformation. Lecture on Mondays and Wednesdays, discussion on Fridays.
Instructor: DaMaris Hill
001: MWF 12:00:00 PM-12:50:00 PM
This course is designed to be an Introduction to Literature course that explores hip-hop and remix theory as a philosophical statement and literary practice.  This course will explore aesthetic practices associated with the remix as a part of the African American literary tradition and slave narrative genre. The readings in this course will challenge students to consider how African American literature has been remixed to make a statement about African American culture within the context of modern and postmodern literature. The readings will be selections of fiction and non-fiction that examine various expressions of the slave narrative genre specific to African American literature and culture. This course will also examine theories associated with ‘remix,’ as an aesthetic process that relies on cultural memory and/or technology in order to make something ‘new’ or create it in a new way.
ENG 260: INTRODUCTION TO BLACK WRITERS: What does it mean to be black and “American?”
Instructor: Rynetta S. Davis
002: TR 11:00:00 AM-12:15:00 PM
English 260 is a survey of African American literary texts from 1901 to the 21st century that represent and explore what it means to be black and “American.” This course will examine how American identities are informed by race, class, and gender. We will consider how African-American literature has evolved and significantly influenced various social and political movements in this country, such as Emancipation and Reconstruction, the Harlem Renaissance, (black) feminism, and Hip Hop.
Instructor: Matthew Godbey
001: MWF 9:00:00 AM-9:50:00 AM
Why do we like the movies we like? What is about certain storylines and characters that keep drawing us back time after time? Class this semester is an attempt to answer these questions by delving into the hidden and not so hidden structures on which movies are built. Designed as a general introduction to the study of film, class this semester is an opportunity to watch a variety of movies from myriad time periods and genres as we work to understand both the technical decisions filmmakers use to create meaning and the basic narrative structures on which movies are built. For the former, you’ll familiarize yourself with the fundamental vocabulary of filmmaking, and for the latter you’ll examine the archetypes and myths that inform the symbols, images, characters, plot structures, etc. of the movies we all enjoy. Whether universal or local, these elements of storytelling connect us, both consciously and unconsciously, to the movies we watch. Further, they’ll allows us to track how different directors or screenwriters evoke, manipulate, or transform them according to historical/cultural context and to the needs of their specific movies.
Instructor: Kyle Eveleth
002: MWF 10:00:00 AM-10:50:00 AM
004: MWF 12:00:00 PM-12:50:00 PM
This course serves as an introduction to the study of film as a cinematic art, a cultural artifact, a signifying medium, and as an artistic or aesthetic object. To those ends, we will examine films through one of the most common, yet least examined, categories of film: the children’s film, or kiddie flick. Films for children and young adults are some of the most frequently produced and highest grossing films in the industry, but they are often ignored in cinematic studies because they are deemed inartistic or incapable of addressing major issues. In this course, we will destabilize that notion, examining the ways in which films for young people broach serious topics in meaningful, complex, and aesthetically-pleasing ways. Students can expect to watch around twelve films, and to complete a midterm and final examination, a group project, and a series of short responses.
ENG 280: INTRODUCTION TO FILM: Hollywood Tells Its Story
Instructor: Justin Roberts
003: MWF 11:00:00 AM-11:50:00 AM
005: MWF 1:00:00 PM-1:50:00 PM
What's better than watching movies? Watching movies about movies! Introduction to Film: Hollywood Tells Its Story looks at how Hollywood depicts its own history. Film became popular incredibly early in its history, and filmmakers quickly sought to celebrate their own history. This class will look at films which present stories, both true and fabricated, about Hollywood’s history and the complex ways in which filmmakers deal with Hollywood's cinematic legacy.
Instructor: Cheryl E. Cardiff
006: TR 9:30:00 AM-10:45:00 AM
008: TR 12:30:00 PM – 1:45:00 PM
An introduction to the study of films as narrative art and cultural documents. The course involves viewing and analyzing films from different genres and investigating a unified theme or set of topics. Students will learn how to view films closely, how to relate films to their contexts, and how to employ the basic terms and concepts of film analysis. Attention will be paid to student writing, particularly to devising a thesis, crafting an argument, and learning how to use supporting evidence. Viewing films outside of class is required. See departmental listings for different offerings per semester. Offers UK Core credit for Intellectual Inquiry in the Humanities. Does not fulfill ENG premajor requirement. Can be taken for ENG Major Elective credit. Provides ENG minor credit. Credit will not be given to students who already have credit for ENG 281. Prereq: Graduation Writing Requirement Course – credit is awarded to students meeting the GWR prerequisite.
Instructor: Frederick Bengtsson
007: TR 11:00:00 AM- 12:15:00 PM
009: TR 2:00:00 PM-3:15:00 PM
This course will introduce students to the study of cinema as a medium, and to the tools and vocabulary of film analysis. By learning about and attending to key elements of film production and form (genre, cinematography, mise-en-scene, editing, sound and lighting, etc.) in a variety of films, we will consider the ways in which filmmakers shape our experience of their work and create meaning within it. We will move beyond watching films passively toward thinking about them analytically, both in artistic and aesthetic terms, and in terms of the ideas and ideologies they articulate, reinforce, and resist.
Instructor: Dan Howell
010: TR 3:30:00 PM-4:45:00 PM
401: M 5:00:00 PM-7:30:00 PM
This is a basic introduction to the study of film, which includes film history as well as elements of film form such as mise-en-scène, cinematography, sound, editing, film genres, and the narrative structures of films. Each of those subjects brings with it an array of terms that we’ll use when discussing and analyzing films; our required text, The Film Experience (3nd. ed.), will be the source of those terms and a resource for explanations and illustrations, supplemented by the frequent in-class screening of clips, trailers, and shorts (even a cartoon or two). But our primary focus will be 12-13 feature-length films that range across time -- from the 1920s to this year -- and genres (comedy, horror, western, crime etc.). There will be at least one silent film, one foreign film, several black-and-white films, and R-rated films; all will be screened twice on the day before we discuss them, and all will be on reserve in the library. Each week will feature a different film, and by the end of the semester you will have seen some of the world’s great films, plus you’ll be acquainted with many film artists and films that are new to you -- you’ll be a much more sophisticated filmgoer. Your grade for the course will be based on weekly short quizzes, two essays totaling fifteen pages, a midterm exam and a final exam.
Instructor: Catherine Gooch
001: MWF 10:00:00 AM-10:50:00 AM
002: MWF 11:00:00 AM-11:50:00 AM
Beyoncé’s visual album, "Lemonade," is full of unapologetic expressions of womanhood, intergenerational kinship, and storytelling. Time and time again, we see mothers and grandmothers in her work; we hear her describe the important generational connections black women share and pass down. But Beyoncé is not the first woman to express these intergenerational connections artistically; rather, she joins a long tradition of women who share their stories of generational ties between children, mothers, grandmothers, great-grandmothers, and other female ancestors. In this class, we will interrogate what this generational connection means for women. We will read a combination of novels, short stories, and poetry to examine how these connections are steeped in histories of exploitation, abuse, empowerment, and self-love. Focusing on women writers of the 20th century, such as Toni Morrison and Amy Tan, we will also consider how intergenerational ties relate to feminist theories and community building. Throughout the semester we will engage in close analysis and class discussions as we attempt to understand why these intergenerational connections are so important for women and how they relate to larger social, economic, and historical issues.
ENG 330: TEXT AND CONTEXT: Melville and the Circus: The Confidence Man
Instructor: Michael Carter
001: MWF 9:00:00 AM-9:50:00 AM
September 2001 was not the first time America “changed forever.” The mid-19th century saw the United States divided: East/West, North/South, slave/free, wealth/poverty, and agrarian/industrial and Herman Melville divided from his audience. With stock speculators and scam artists abounding, trust was becoming a commodity to be held close. P.T Barnum (not yet with “The Greatest Show…”) drew crowds who let themselves be fooled by the “Feegee Mermaid,” the “duck-billed beaver of Australia” or the “Great Buffalo Hunt” while con men roamed the city and waterways in search of dupes. Similarly, Melville’s works drag representational characters and allusions from John Jacob Astor to William Wordsworth and various of his contemporaries into the offices of Wall Street and onto boats on the Mississippi and south Pacific to examine the culture’s trust in itself in that fast-changing America. This course will examine these works and others as well as those times through the fiction and from a variety of other mid-19th century sources.
ENG 330: TEXT AND CONTEXT: Hamlet and Revenge
Instructor: Walt Foreman
002: MWF 11:00:00 AM-11:50:00 AM
This section of the English major core course will focus on the close reading and analysis of Shakespeare's Hamlet in the contexts of (a) London theater conditions around 1600, (b) other "revenge" plays produced around the same time, such as Kyd's Spanish Tragedy, as well as other plays by Shakespeare), (c) some other texts from the period (including writings by Francis Bacon and Thomas Nashe) or beyond, (d) the political, social, and economic situation in England and Ireland in which Hamlet appeared, and (e) the concept of revenge and the basis of the human impulse to revenge: why do we feel we have to get back at people? In addition to reading Hamlet and other revenge plays, we will view and discuss in detail the 2009 film version of Hamlet directed by Gregory Doran and featuring David Tennant as Hamlet and Patrick Stewart as both Claudius and the Ghost. In addition, one of the paper options will give students the opportunity to examine two other film versions in relation to the play. As noted in the general catalog description, students will develop analytical and interpretive skills that deepen their historical and conceptual understanding of literature, as well as their skills of critical reading, writing, and presentation. In particular, in this section we will seek to develop the involvement in literature fostered by aural/oral immersion.
ENG 330: TEXT AND CONTEXT: Spike Lee's Do The Right Thing and Contemporary African-American Film and Culture
Instructor: Matthew Godbey
MWF 12:00:00 PM-12:50:00 PM
Spike Lee’s classic 1989 film explores the complexities of race in America through the lens of a single, sweltering day in Bed Stuy, Brooklyn. Hailed as a towering achievement in African-American film when it was released, the film is complex and multilayered expression of post-Civil Rights black life that looks back to the legacies of slavery and the great migration and anticipates such seminal topics as hip hop and police violence. Some 30 years later it remains a critically-lauded, revelatory, and controversial film. As Barack Obama noted on the occasion of the film’s 25th anniversary, “Do the Right Thing still holds up a mirror to our society, and it makes us laugh and think, and challenges all of us to see ourselves in one another.” Class this semester is an opportunity to explore Lee’s film as an important work of black cinema and as a formative work of art whose influence continues to reverberate in society today. We’ll explore the literary and cinematic influences that shaped the film and explore how it has influenced an entire generation of black filmmakers, writers, and artists.
ENG 330: TEXT AND CONTEXT: Joyce, Ulysses
Instructor: Jonathan M. Allison
004: TR 11:00:00 AM-12:15:00 PM
A course on the great modernist novel, James Joyce’s Ulysses (1922), read in the context of several books which inspired the author as he wrote the novel, including Homer’s The Odyssey, Shakespeare’s Hamlet and a neglected French novel by Edouard Dujardin, Les Lauriers Sonts Coupés (translated as We’ll to the Woods No More.) Also other works by Joyce, including Dubliners and A Portrait of the Artist as a Young Man, which introduces Stephen Dedalus, who returns as a major character in Ulysses. Don Gifford’s compendious Ulysses Annotated will help us appreciate the labyrinth of reference and allusion. Other contexts to explore include biographical, historical and political backgrounds, and relevant supplementary readings will be provided. We shall think about the critical reception of the novel, how it plays a crucial role in the history of modernism, and how its influence may be discerned in the work of later writers. Class participation and attendance; quizzes; three papers; final examination.
ENG 337: LIT AND GENRE: Modern American Drama
Instructor: Alan M. Nadel
001: TR 12:30:00 PM-1:45:00 PM
We will examine two plays each by eight major American playwrights: Edward Albee, Lorraine Hansberry, Lillian Hellman, Beth Henley, Arthur Miller, Eugene O’Neill, Tennessee Williams, and August Wilson. Our discussion will concentrate on the way each adapts the conventions of Western drama to express thematically and stylistically the issues of dramatic cogency particular to their historical moment. We will attend very closely to each playwright’s use of language and to the way that the language is interpreted in its performance. Requirements: eight short quizzes, three take-home exams, a final exam, and posted questions.
Instructor: Walt Foreman
001: MWF 10:00:00 AM-10:50:00 AM
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. Among the eight plays likely to be included are A Midsummer Night's Dream, Much Ado about Nothing, Henry IV Part 1, Henry V, King Lear, Antony and Cleopatra, and The Tempest.
Instructor: Frederick Bengtsson
001: TR 9:30:00 AM-10:45:00 AM
For centuries, the sonnet has been regarded as a crowning achievement in the British poetry tradition. Poets from Shakespeare to Keats to Heaney have tested their poetic mettle both against the strictness of the form, and against generations of sonnet-writers who have struggled with these maddening fourteen-liners. Far from being oppressive, what Wordsworth calls the sonnet’s “scanty plot of ground” has instead generated some of our most enduring, and most beautiful, poetry: explorations of the contradictions and complexities of love and sex; evocations of memory and expressions of grief and mourning; and attempts to wrestle with mortality, death, and the inevitable passage of time. In this course, we will explore the evolution of the sonnet from its courtly beginnings, through its Renaissance and Romantic heydays, to 20th- and 21st-century experiments with the form. We will focus both on intense close-reading of individual poems, and on the broader evolution of the sonnet-genre.
Instructor: Lisa Zunshine
001: TR 2:00:00 PM-3:15:00 PM
This course will focus on the eighteenth-century British novel: its “rise” and historical origins, as well as its recent cinematic adaptations. We’ll read novels by Daniel Defoe, Henry Fielding, Horace Walpole, Frances Burney, and Jane Austen. Requirements include quizzes, short papers, and two long papers.
ENG 380: FILM AND GENRE: New Waves
Instructor: Randall Roorda
001: TR 2:00:00 PM-3:15:00 PM
In the mid-1950s a group of young French film critics started sounding off about gripes they had with conventional cinema from their country and from Hollywood as well. Practicing what they preached, by the turn of the decade they were making movies of their own. Pronouncements made by these figures—the so-called New Wave—exerted wide influence, both on cinema of that period and on views of movies from the past. This influence spread globally and persists to the present day. This course will explore a succession of new waves—the French nouvelle vague, especially—that transformed cinema from the aftermath of WWII into the 1970s. We’ll watch films marked by gritty realism and by antic, free-form inventiveness; films evading and films self-reflexively drawing upon Hollywood genres and conventions; films from the consumerist West, from Iron Curtain regimes, and from elsewhere in the world. These are remarkable movies, fresh as the day they were made, even if (as is largely the case) their attitudes and innovations have infiltrated mainstream cinema. These films come from the past, but we’ll emphasize present reception and response, the vital sensations of viewers in the dark. Assignments: weekly written responses, occasional quiz-like activities, a couple exams (with take-home essay components), and a semi-optional independent report-response or two.
Instructor: Armando Prats
001: MWF 12:00:00 PM-12:50:00 PM
This course will study the distinctive literature of America’s Vietnam War as well as the even more distinctive Hollywood films of the War. We will read Dispatches, The Things They Carried, A Rumor of War, The Short Timers, as well as a selection of poetry from the war. We will compare and contrast the literature with the Hollywood movies that came after the end of the war (all but The Green Berets), The Boys in Company “C”, The Deer Hunter, Coming Home, Go Tell the Spartans, Apocalypse Now, Platoon, Hamburger Hill, Full Metal Jacket, and We Were Soldiers. Three short papers, three short response papers, one final multi-modal project. Please note that all films will be viewed outside of class, and that students are responsible for screening all the movies. Please note that many of these films, both fiction and documentary, show graphic images of violence. NO CELL PHONES, NO LAPTOPS.
Instructor: Pearl James
ENG 407: INTERM WKSP IMAG WRIT: Creative Writing in Digital Spaces
Instructor: DaMaris Hill
001: MW 3:00:00 PM-4:15:00 PM
This Intermediate Workshop in Imaginative Writing: Creative Writing in Digital Spaces is a creative writing workshop and course that explores creative composition and literary arts in digital spaces. We will meet once a week to consider the ways technology influences our writing, considering both content and craft. This course will introduce/reintroduce many writers to some of the intersections of technology and creative writing. This class will create and explore the different theories and mediums writers employ in digital spaces. Because some theorize that creative writing in digital spaces is a new genre, this course will explore how digital writing and electronic tools serve as a source of inspiration for a variety of twenty-first century literatures. The course will challenge students to critique and create writing in any genre and digital platform they choose. The course will also discuss how and why authors choose to express themselves using social media networks, multimedia apps, and hybrid texts in digital environments. The course will emphasize the freedoms and constraints associated with digital composition and literary practices.
ENG 407: INTERM WKSP IMAG WRIT: Screenwriting
Instructor: Dan Howell
002: TR 12:30:00 PM-1:45:00 PM
Through the study of screenplays, films and film clips, as well as a little reading, students will develop a working familiarity with screenplay format, narrative structures, characters, settings, writing narrative action, and dialogue. Much of that familiarity will be generated through the writing you'll do both in and out of class. The writing will include specialized forms such as loglines, treatments, and -- necessarily -- a substantial portion of a screenplay. The class will
also require cooperative activities such as group-work on various pieces of writing as well as workshopping. Grades will be based on writing assignments, occasional brief quizzes, timely submission of assignments, participation, and the final draft.
ENG 407: INTERM WKSP IMAG WRIT: Creative Nonfiction
Instructor: Janet Eldred
401: R 4:00:00 PM-6:30:00 PM
In this intermediate workshop, we'll borrow techniques from poetry and fiction to tell true stories. We'll begin by revisiting pieces you've already written and proceed from there. Expect to read and write frequently (reading every week, writing 3 pp. every other week). Expect to expand/write two polished essays 5-7 pp. each). Recommended Text: Rockas, Style in Writing.
ENG 460G: STUDIES IN AFRICAN AMERICAN LIT: Love and Sex in African American Literary History
Instructor: Rynetta S. Davis
001: TR 9:30:00 AM-10:45:00 AM
English 460G considers how African American writers characterize love, sex, and romantic desire from the slave era to the contemporary era. While twenty-first century American culture is oversaturated with overt images of sex, nineteenth- and early twentieth-century African American literature and culture managed images of sex differently. We will examine how race and gender alter representations of sex, specifically how black women writers such as Harriet Jacobs struggled to mediate stereotypical images of the lascivious black female body both during and after slavery. We will place Jacobs’s literary text, Incidents in the Life of a Slave Girl (1861), in dialogue with other works including Frances E. W. Harper’s Iola Leroy (1892), Charles Chesnutt’s The House Behind the Cedars (1900), and Dorothy West’s The Living is Easy (1948). The following questions will guide our analysis of sex in African American literary texts: How do American authors represent sex and sexuality? How is, as literary scholar Dale M. Bauer argues, sex expressed in African American literary texts? Is sexual desire expressed overtly, or is it repressed and contained?
ENG 480G: STUDIES IN FILM: The Vietnam War: Hollywood, Documentaries, and American History
Instructor: Armando Prats
001: MWF 11:00:00 AM-11:50:00 AM
This course proposes to explore Hollywood’s representations of the Vietnam War in the context of the recent eighteen-hour documentary, The Vietnam War, by Ken Burns and Lynn Novick. We will do our best to consider all of the following movies, though we will not give equal time to all of them: The Green Berets, The Boys in Company “C”; The Deer Hunter, Coming Home, Go Tell the Spartans, Apocalypse Now, Platoon, Hamburger Hill, Full Metal Jacket, and We Were Soldiers. In addition, we will screen derivative movies, for example, The Last Picture Show, Twilight’s Last Gleaming, Red Dawn (1984), Black Hawk Down, Three Kings, and American Sniper. We will also look at other documentaries, chiefly Hearts and Minds, Vietnam: A Television History, and Last Days of Vietnam. Three short papers, three short(er) response papers, and one final project (written or multi-modal). Please note that all films will be viewed outside of class, and that students are responsible for screening all the movies. Please note that many of these films, both fiction and documentary, show graphic images of violence. NO CELL PHONES, NO LAPTOPS.
ENG 480G/AAS 400: STUDIES IN FILM: Black Life Matters
Instructor: Frank X. Walker
002: TR 11:00:00 AM-12:15:00 PM
In this course students will view and discuss over a dozen films in conversation with a set of seminal essays. We will compare and contrast on screen narratives with societal events, soundtracks, and the filmmakers themselves, as part of an interrogation of cinematic efforts to advance or challenge ideas of white supremacy, particular standards of beauty and definitions of masculinity. We will study the work of Oscar Micheaux, Spike Lee, Julie Dash, Khalil Joseph, Ava Duvernay, Bradford Young and others. Some of the films we will view include The Amistad, Glory, The Color Purple, Birth of a Nation, Raisin In the Sun, Jungle Fever, Shaft, She's Gotta Have It, Guess Who's Coming to Dinner, Bamboozled, I'm Gonna Git You Sucka, Do the Right Thing, Selma, Daughters of the Dust, Lemonade, and The Black Panther.
ENG 495: MAJOR HONORS SEMINAR: Social Minds in Fiction
Instructor: Lisa Zunshine
001: TR 12:30:00 PM-1:45:00 PM
This course will focus on ways in which works of fiction anticipate and enrich insights into imagination, consciousness, memory, and everyday sociality offered by the cognitive sciences. Authors include Jane Austen, William Wordsworth, Virginia Woolf, Edith Wharton, Vladimir Nabokov, and Muriel Spark.
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