Spring 2019 Courses

ENG 107 Introduction to Creative Writing

001: MW 11:00 am - 11:50 am; Discussion F 10:00 am - 10:50 am

002: MW 11:00 am - 11:50 am; Discussion F 12:00 pm - 12:50 pm

003: MW 11:00 am - 11:50 am; Discussion F 11:00 am - 11:50 am

004: MW 11:00 am - 11:50 am; Discussion F 11:00 am - 11:50 am

Hannah Pittard

Welcome to college! This class will break your heart, blow your mind, and show you what it means to be a creative reader, writer, and thinker. This is an introduction to the craft and genres of imaginative writing, including fiction, nonfiction, and poetry. Students will study and practice writing in various modes through composition, peer critique, and research. Attendance and participation are required. This course satisfies the requirement Intellectual Inquiry into Arts and Creativity of the UK Core Curriculum. Fulfills ENG pre-major requirement and provides ENG minor credit.


ENG 107 Introduction to Creative Writing

005: MW 1:00 pm - 1:50 pm; Discussion F 12:00 pm - 12:50 pm

006: MW 1:00 pm - 1:50 pm; Discussion F 12:00 pm - 12:50 pm

007: MW 1:00 pm - 1:50 pm; Discussion F 1:00 pm - 1:50 pm

Andrew Milward       

This course is an introduction to three genres of creative writing: fiction, creative nonfiction, and poetry. Students will first learn the craft elements unique to each genre by reading widely from professional examples before applying that knowledge toward the composition of their own original stories, essays, and poems. Students will meet both in a large lecture class and in smaller breakout sessions where their creative works will be discussed and critiqued. This course fulfills the UK Core requirement for Intellectual Inquiry in Arts & Creativity. This course satisfies the requirement Intellectual Inquiry into Arts and Creativity of the UK Core Curriculum. Fulfills ENG pre-major requirement and provides ENG minor credit.



ENG 107 Introduction to Creative Writing

008: TR 12:30 pm - 1:45 pm

Julia M. Johnson        



ENG 130 Literary Encounters: Banned Books: From Mid-19th Century to Today

001: MWF 9:00 am - 9:50 am

Michael W Carter      

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 creative non-fiction/fiction essays, one collaborative project, as well as shorter writing assignments. This course fulfills the UK Core Curriculum requirement for Intellectual Inquiry in Arts & Creativity.


ENG 130 Literary Encounters: Speculative Fiction

002: TR 9:30 am - 10:45 am

Matthew W Godbey  

This is a course designed to introduce students to speculative works from a variety of genres in both fiction and film. As a category, speculative is intentionally broad and allows us to range far and wide through the worlds of science fiction, fantasy, slipstream, and myriad other genres. What unites the stories is a compelling vision of the world that is slightly off, idiosyncratic, or just plain weird. In all, there is a sense of play and a desire for visions of the world that inspire awe and wonder while also helping us see the real world from a new perspective.


ENG 130 Literary Encounters: Robinson Crusoe

003: TR 11:00 am - 12:15 pm

Michael E. Genovese 

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 142 Global Shakespeare

001 MWF 12:00 pm - 12:50 pm

Emily E Shortslef      

First written and performed in late sixteenth- and early seventeenth-century England, Shakespeare’s plays have had long and fascinating afterlives within as well as outside of Great Britain and the English language. In this course, we’ll read four of Shakespeare’s best-known plays: Romeo and Juliet, Hamlet, Othello, and The Tempest, alongside adaptations of these works from around the world. As we read the plays, we’ll discuss the theatrical culture and social milieu of Shakespeare’s England, but we’ll also consider what makes these plays so suited to reinterpretation and retelling across differences of language, culture, place, and time. The selected adaptations will allow us to examine the interpretive choices that these directors and writers have made in their engagements with Shakespeare, and to explore the implications of those choices. More specifically, we’ll think about how Shakespeare’s dramas have been and continue to be rich sites for exploring cultural difference and cultural exchange.


ENG 180 Great Movies: the American 70s

001: MW 9:00 am - 9:50 am; Discussion F Online

John D Howell

The decade of the 70s was certainly one of the greatest -- if not the greatest -- in American film history. This course will feature a dozen movies from that amazing decade, ranging from familiar hits like The Godfather through lesser-known early masterpieces by directors such as Martin Scorsese and Robert Altman, as well as wonderful work from Terence Malick, Steven Spielberg and others. Obviously you’ll need to know some historical context for the films -- the emergence of youth counter-culture and the war in Vietnam, e.g. -- as well as some film history, and you’ll need to learn some basic terms of film art.  But primarily we’ll be watching great movies, and talking about what we’re seeing, and thinking about how and why the movies work as they do. Class attendance and participation; weekly short quizzes and short responses. Final Exam. Fulfills the UK Core Curriculum requirement in Arts and Creativity.


ENG 180 Great Movies: Romantic Comedies 

002: MWF 1:00 pm - 1:50 pm

Frederick K Bengtsson

"Boy meets girl, boy gets girl, boy loses girl, boy gets girl again"- a clichéd but enduring formula that filmmakers have turned to time and again, repeating it, reinvigorating it, challenging it. In this class we will explore romantic comedies in their many manifestations, from the screwball films and movie musicals of the 1930s to 1950s, through the classic rom coms of the 1970s, 80s, and 90s, to the contemporary retellings and reinventions of the 2000s. Among the questions we will ask: why does romance so often intersect with comedy? what are the conventions of romantic comedy, and how do they evolve? how does the genre both reinforce and subvert social and cultural norms? how are shifts and upheavals in those norms both reflected and resisted in these films? what stories do these films tell about human relationships and identities? what stories remain untold?

ENG 207 Beg Wksp Crtv Writ: Fiction

001: MWF 10:00 am - 10:50 am

Omaria Pratt  

This course is an introduction to workshop in the craft of writing fiction. Throughout the course of the semester, you will learn to be keen readers which will further develop your own writing through the practice of reading others’ work critically and revising your own. We will read and study short stories crafted by professional writers. Exercises assigned outside of class involve practice in aspects of craft and promote experimentation with different forms, subjects, and approaches. By the end of course, you will have written three original works of fiction. Writing is a personal matter and through using tools of autobiographical fiction, the course will focus on the self as subject for narrative. How do we create a world based on one’s own lived experience?


ENG 207 Beg Wksp Crtv Writ: Poetry

002: MWF 11:00 am - 11:50 am

Angel Dye      

A beginning workshop in the craft of writing, teaching students how to read critically and how to revise work in progress. The students provide an audience for each other’s' work. Exercises involve practice in aspects of craft and promote experimentation with different forms, subjects, and approaches; outside reading provides models and inspiration.


ENG 207 Beg Wksp Crtv Writ: Fiction

003: MWF 12:00 pm - 12:50 pm

Taylor Sarratt 

This course is an introduction to fiction writing and the overall workshop environment. We will be reading published work to sharpen our skills as readers, as well as creating work of our own in the form of short writing exercises and short stories. This course relies on the typical workshop model, so students can expect to receive feedback on their work in either full class or smaller group discussions. You will leave this class with an understanding of the workshop model as well as the beginnings of a writing portfolio.


ENG 207 Beg Wksp Crtv Writ: Fiction

004 TR 9:30 am - 10:45 am

Isabelle Johnson         

This course is a beginning workshop in fiction writing. Its main goal is twofold: to introduce you, the student, to voices of other writers, and to introduce (or, perhaps, re-introduce) you to your own writing voice.


ENG 207 Beg Wksp Crtv Writ: Nonfiction

005: TR 11:00 am - 12:15 pm

Suzanne Fernandez Gray 

Writing creative nonfiction means employing literary styles and techniques to craft factual but engaging narratives from our own lives and the lives of those around us. In this class, we will explore different types of creative nonfiction and learn to shape our experiences into works of that communicate effectively with readers. Reading assignments will focus on exploring the variety and techniques of the genre, while writing assignments will ask you to employ those techniques in crafting your own unique stories.


ENG 207 Beg Wkshp Crtv Wrt: Poetry

006 TR 12:30 pm - 1:45 pm

Tiara Brown   

This beginning workshop will cover strategies you can use to write poetry that is meaningful to you and that moves others. Workshops will be the focus of the class and you will be assigned reading, participate in discussions, and perform peer evaluations with a focus on revision. You will be asked to maintain a creative writing journal, build a portfolio of new and revised poetry, and participate in an end-of-term reading. Additionally, students will be expected to attend public readings and turn in brief critiques of the events throughout the semester.


ENG 230 Intro to Lit: Complex Identities

003: TR 9:30 am - 10:45 am

004: TR 11:00 am - 12:15 pm

Leslie Malland           

Throughout literature, writers often create complex, multi-faceted characters that express multiple forms of identity. In this class we will explore notions of duality, body/soul, inward/outward, citizen/individual, identity/biology, etc., and the implications of those notions. The understanding of human beings maintaining a multifaceted existence has morphed and progressed throughout history, from Plato to modernity, and we can see the changing ideas reflected in literature. What does duality and identity mean as a citizen, leader, parent, child, human? How do these changing notions of duality affect people throughout private, public, and political realms? How do these notions complicate the idea of bodily autonomy, especially for women? Offers UK Core credit for Intellectual Inquiry in the Humanities. Fulfills ENG pre-major requirement. Provides ENG minor credit.


ENG 241 Survey of British Literature I

001: TR 12:30 pm - 1:45 pm 

Matthew C. Giancarlo

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.


ENG 242 Survey of British Literature II

001: TR 11:00 am - 12:15 pm

Jill Naomi Rappoport

In this key course for majors, minors, anyone who might ever be interested in graduate study, or those who just love seeing how writing has changed over time, we will explore English literary history from the English Restoration to the early twentieth century, focusing on literature's formal and thematic responses to, and effects upon, culture and society. Looking closely at exemplary works, we will examine important Enlightenment, Romantic, Victorian, and Modern authors from Defoe and Austen to Dickens and Woolf. We will consider changes and continuities among important works of poetry, non-fiction prose, and fiction while learning to recognize relationships between texts and their literary and cultural contexts.


ENG 251 Survey of American Literature I   

001: MW 1:00 pm - 1:50 pm; Discussion F 12:00 pm - 12:50 pm

002: MW 1:00 pm - 1:50 pm: Discussion F 1:00 pm - 1:50 pm

Armando J Prats        

We will begin our survey of American literature at a time just before there was an “America” and maybe even before there was an “American literature.” We will then move to American literature before it appeared in the English language—for example in the captivity narrative of the genius of survivalist adaptation, Alvar Núñez Cabeza de Vaca. We will then travel north to Virginia and cover some of the writings of John Smith (of Pocahontas—and Disney!—fame), especially in his relation with American Indians and the great Powhatan. Then up to New England, where we stay a good while, mostly reading the Puritans—Bradford and Winthrop, for example, but also of their wars against the Indians, beginning with the Pequot War of 1637 and King Philip’s War (1675-76). From this period, we will also pay special attention to narratives of Indian captivity (this is racy stuff!), especially those of Mary White Rowlandson and of Hannah Dustan, with special attention to versions of their stories told well over a century later by Nathaniel Hawthorne and Henry David Thoreau. From here to Virginia and Mr. Jefferson, warts and all—the Jefferson of the Declaration and of the slaves of Monticello. And soon enough we will come to Kentucky and John Filson’s account of the great hero and Indian fighter—the one, the only, Dan’l Boone. By this time we should have enough of a background in American literature and culture to see if we can make sense of the rhetoric of present-day politicians and whether what they say and promise resonates with what we have studied so far. In this political context we will read Frederick Douglass’s Narrative (perhaps with quick YouTube looks at Eric Garner, Freddie Gray, Sandra Bland, and other like victims, and perhaps a clip or two of Solomon Northup in 12 Years a Slave and Oscar Grant in Fruitvale Station), followed by selections from Thoreau’s Walden in the context of “Four Hiroshima bombs of heat per second,” and his “Civil Disobedience,” “Slavery in Massachusetts,” and “A Plea for Captain Brown”—pieces all as relevant to our time as to Thoreau’s own. Toward the end of the semester, we will read—that we may remember America’s best and most generous—the poetry of Walt Whitman.


ENG 260 Introduction to Black Writers

001 TR 11:00 am - 12:15 pm

Rynetta S Davis

An introduction to written and oral works by Black authors of Africa, the Caribbean, and the United States. The course includes writers such as Chinua Achebe (Africa), Wilson Harris (Caribbean), and Toni Morrison (USA), as well as others from the diverse field of literature written by African-American authors and authors of color worldwide. Attention will be paid to student writing, particularly to devising a thesis, crafting an argument, and learning how to use supporting evidence. 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. Same as AAS 260. Credit will not be given to students who already have credit for ENG 264.


ENG 265 Survey of African-American Literature I

001 TR 11:00 am - 12:15 pm

Andrew V Doolen      

A survey of African-American literature from the mid-eighteenth century to Reconstruction and after, with emphasis on selected genres, periods, and thematic characteristics of the early African-American cultural and literary experience. Topics include colonialism and abolitionism; early black aesthetics, narratives of enslavement, and drama, novels, and poetry. Authors may include Jupiter Hammon, Phillis Wheatley, William Wells Brown, George Moses Horton, Martin Delaney, Frederick Douglass, Harriet Wilson, Ellen Craft, and more. Lecture. Fulfills ENG major Historical Survey Requirement. Provides ENG minor credit.


ENG 280 Introduction to Film

001 MWF 9:00 am - 9:50 am

Frederick K Bengtsson

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.


ENG 280 Introduction to Film

002 MWF 10:00 am - 10:50 am

Michael W Carter

This course will examine the lens through which film making shows us ourselves, our world, and our ever changing culture. Since film’s earliest days controversies have waxed and waned within the cinema (violence, sex, and language anyone?) and various methods of censoring or restricting the medium have been attempted, and still film thrives as a major industry. Perhaps films persist because whether live actors, animation, historical, contemporary, or futuristic, film presents a view of humanity that the writers and directors bring to life visually, aurally, and emotionally. We will consider all parts of the process and product. You will be required to write two critical responses to the films which will be the bulk of your grade for the course. The remainder of the grade will be determined from attendance, regular quizzes, and a midterm test.


ENG 280 Introduction to Film

003 MWF 11:00 am - 11:50 am

005 MWF 1:00 pm - 1:50 pm

John D Howell

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, editing, cinematography, sound, film genres, and the narrative structures of films. Each of these subjects brings with it an array of terms that we’ll use when discussing and analyzing films; our required text, The Film Experience (4th ed.) will be the source of those terms as well as 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 feature-length films that range across time -- from the 1920s till recently -- and genres (comedy, horror, musical, crime etc.)  There will be at least one silent film, one foreign film, several black-and-white films, and R-rated films.  (If graphic language, nudity, sexuality and/or violence will offend you, you should drop the class.)  All films will be screened twice on the day before we discuss them, and all will be on reserve and available to you in the library.  Each week will feature a different film, and by the end of the semester you will have seen some great films, plus you’ll be acquainted with many film artists and films that are new to you:  you’ll be a more knowledgeable, sophisticated filmgoer.


ENG 280 Introduction to Film

004 MWF 12:00 pm - 12:50 pm

W C Foreman

This section of ENG 280 is an introduction to the study of the movies as a narrative art and a cultural document, with emphasis on the former.  The movies we will watch will be chosen from a variety of genres, national cinemas, and time periods.  The course will develop students' skills in interpretation and analysis of film and in evaluating competing interpretations of films.  The “evaluation” of movies we will do will not be about assigning stars or pointing thumbs up or down, nor will the evaluation of interpretations necessarily be designed to accept one and reject its competitors.  All the movies for this section will be about, though not at all exclusively about, monsters.  What makes something a “monster”?  How are monsters made?  Who makes monsters?  What is the relation between “monster” and “point of view”?  “Monsters” are a thread, a common theme we will follow through the course, though we will by no means treat each movie as simply a “monster movie.”  We are not tracing a genre: only two or at most three of our movies would be likely to show up in a list of either “monster” or “horror” movies.  We will visit many other genres: westerns, private eye movies, comedies (silent and screwball), science fiction, psychological thrillers, musicals, and more.  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.


ENG 284 History of Film I

001 MWF 10:00 am - 10:50 am

Pearl James    

In this course on the History of Film Part 1, we will trace the development of film art and technology from its origins in 19th century visual culture, through early pioneers such as Melies and Griffiths, classics of the silent period, Depression-era Musicals, and classics of the Studio Age.  Plan to view a film a week, take quizzes and tests, write short papers, and do a final paper or project.


ENG 307 Special Topics in Creative Writing: CONTEMPORARY POETIC FORMS

001 W 5:00 pm - 7:30 pm

Frank X Walker         

Utilizing memory, research and imagination as a foundation, this intermediate level poetry workshop will provide a focused study of contemporary poetic forms. Experienced poets and future instructors of creative writing will explore, discuss and hone the craft needed to execute exciting new non-traditional forms like the contrapuntal, golden shovel, Klingon haiku, mirror, dictionary, historical persona, hinge, and blue sonnet. Participants will develop creative writing focused lesson plans, conduct research, generate and critique original work in a peer editing format, and participate in a public reading. This course is suitable for prospective English teachers, for those practicing creative writing, or for students with other majors who are interested in the given topic. May be repeated under different subtitles to a maximum of 6 credits.


ENG 330 Text and Context: Huckleberry Finn

001 MWF 12:00 pm - 12:50 pm

Pearl James

We will spend the semester studying Twain's classic in different contexts: as a novel that appeals to both adults and children; as a novel that has been identified by Hemingway and others as the "beginning" of American literature (with many descendants); as an allegory for the failure of Reconstruction and the replacement of slavery with incarceration; as a contradictory portrayal of minstrelsy and black personhood (as Toni Morrison describes it); as a literary text with visual illustrations and cinematic adaptations; and more.  Several short papers and a final project. 


ENG 330 Text and Context: Robinson Crusoe


002 TR 9:30 am - 10:45 am

Michael E. Genovese

Daniel Defoe’s Robinson Crusoe, published in 1719, is widely regarded as the first novel. In many ways, it gave birth to prose fiction as we still know it today: as a story that takes place in a familiar, realistic world occupied by people doing things we recognize as every day. But what is familiar?  Realistic?  Everyday? Are people and characters even the same thing? As we study Defoe’s novel, we will stretch into its literary past and future in order to explore these questions and come to terms with what it meant to be the “first” novel and what it still means to be a novel today. We will read novels by Defoe as well as works selected from the following novelists: Bunyan, Haywood, Swift, and Coetzee. There will also be regular reading of critical and theoretical essays relating to these novels. Expect approximately 120 pages of reading per week, as well as around 15 pages of writing. Active participation is required, and there will be a cumulative final exam.


ENG 330 TEXT AND CONTEXT: The Talented Mr. Ripley

003 TR 11:00 am - 12:15 pm

Michael A Trask

This class will examine Patricia Highsmith's classic 1955 novel The Talented Mr. Ripley along with a number of its predecessors in the hardboiled 50s (Highsmith's Strangers on a Train [1950] and Hitchcock's 1951 film version of that novel) and some of its later adaptations and revisions (René Clément Purple Noon [1960], Anthony Minghella's The Talented Mr. Ripley [1999], Tara Isabella Burton's Social Creature [2018]). The class will look at Highsmith in the frameworks in which she has typically been read by scholars: the Cold War paranoia narrative, the pre-Stonewall closet, the drama of the psychopathic subversive. We'll also look to develop a framework of our own. There will be two short papers and a final project that includes a class presentation.


ENG 330 Text and Context: The Overstory and Vegetal Radicalism

004 TR 12:30 pm - 1:45 pm

Randall Roorda          

Our triggering text is contemporary, the context current yet perennial. Published just this year, The Overstory is the twelfth novel by Richard Powers, a writer of great intellect and verbal facility. The book is an education. Its title is a straightforward play on words, with “overstory” referring both to the upper level of a forest (its canopy) and to a narrative that encompasses and transcends particular tales. “Vegetal radicalism” is likewise a double-edged expression. Coined by the protean 20th-century critic Kenneth Burke, it plays on “radical” in both its routine sense of going to extremes and its root sense of, well, roots. The extremes The Overstory goes to concern the lives of (and of those devoted to) trees: venerable beings to which both folklore and recent science attribute an ability (so to speak) to speak. Through Powers’ novel and a scattergram of other texts, this class will explore vegetal presence, literary ecology, and the trope of the talking tree. Among those texts, potentially: Richard Preston, The Wild Trees; Peter Wohlleben, The Hidden Life of Trees; Margaret Atwood, Surfacing; poems by Atwood, Gary Snyder and others; folk tales from Czech lands and who knows where and what else. Contexts will be historical, literary, rhetorical, yet material as well. After all, the context for a novel is paper, which monocultures of loblolly pines, among much else. As spring progresses and leaves take form, participants in this class will learn to identify trees—to call an oak an oak—so immediate contexts speak to them in ways they may not have before.


ENG 330 Text and Context: Taxi Driver

005 TR 2:00 pm - 3:15 pm

Matthew W Godbey

Martin Scorsese’s Taxi Driver (1976) is a classic from the New Hollywood era of American filmmaking. It’s also a critical Rorschach test, with writers and audiences seeing in it myriad themes that speak to subjects as diverse the Vietnam War, our national obsession with violence and vigilantism, the decline of American cities, and the death of the American dream, just to name a few. Over the course of the semester we’ll dip our toes in this critical stream and examine the movie with some of these same issues in mind while forging our own paths and working to examine its continued relevancy in 21st Century America.


ENG 337 Lit and Genre: Native American Literature

001 MWF 1:00 pm - 1:50 pm

Michael W Carter

Whether through films, historical texts, stereotypes, or even sport team mascots, Native Americans have been viewed through the lens of European Americans. In this course, Native Americans will speak through their own mythologies, novels, short stories and poetry. Beginning with early myths and continuing up to the 21st century, this class will listen to these voices, see the Native Americans’ own literature, and begin to know better America’s first settlers. With a focus primarily on 20th century Native American writers: Leslie Silko, Scott Momaday, Louise Erdrich, James Welch, Sherman Alexie and many others, we will explore these distinct voices as they tell their stories. The course will include daily readings, research, essays, quizzes and exams.


ENG 338 Topics in Literature: Odysseys 

001 MWF 11:00 am - 11:50 am

Frederick K Bengtsson          

What makes a journey into an odyssey? Is it time spent and distance traveled, a matter of scope and scale? Or is it goals reached and obstacles overcome, a matter of triumphs and difficulties? Is it the travel or the traveler? Or is it all in the storytelling, a matter of narrative craft and poetic mastery? With Homer's eponymous epic as our starting point, we will embark on our own journey, a literary odyssey that will range from classical to contemporary texts. We will think about how storytellers transform journeys into odysseys, why they might do so, and what they accomplish in the process. And we will explore what it means to read texts as odysseys, how The Odyssey influences both the writing and our reading of later odysseys, and what those odysseys in turn might reveal as they refract and we reflect on earlier texts in our travels.


ENG 338 Topics in Literature: Race and Money

002 TR 12:30 pm - 1:45 pm

Jeff A. Clymer

How does race matter when we think about wealth and money in the United States? Does racial difference affect how we think about the behaviors and other markers of class status in the United States? In this course, we will read a number of twentieth- and twenty-first century authors who have tried to puzzle out how we understand the racial overtones of wealth and money in this country. We’ll read some of the most important and provocative writers of the last 120 years, including Ralph Ellison (Invisible Man), James Weldon Johnson (The Autobiography of an Ex-Colored Man), F. Scott Fitzgerald (The Great Gatsby), Charles Chesnutt (The Marrow of Tradition), Nella Larsen (Passing), as well as brilliant recent works by Philip Roth (The Human Stain), Michael Thomas (Man Gone Down) and Ta-Nehisi Coates on contemporary reparations.


ENG 342 Shakespeare

001 MWF 9:00 am - 9:50 am

W C 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. Among the eight plays likely to be included are A Midsummer Night's Dream, Twelth Night, Henry IV Part 1, King Lear, Antony and Cleopatra, and The Tempest.


ENG 343 Renaissance Drama and Society: OUTSIDE SHAKESPEARE

001 TR 11:00 am - 12:15 pm

Joyce M MacDonald 

This course is designed to explore what Renaissance drama looks like without Shakespeare. Although many of us tend to see Shakespeare as the representative Renaissance playwright, he was only one member of a brilliant generation, and his work is often radically different in tone and structure from that of his contemporaries. This course will concentrate on the plays that everyone else was writing, in popular genres that Shakespeare either adapted so heavily that he essentially transformed their nature (e.g., revenge or domestic tragedy), or that he didn’t work in at all (such as city comedy). Recurring topics will include sex, romance and jealousy, social relations, national identity, urban life and the value of money, and racial and religious difference.


ENG 357 Contemporary American Literature

001 TR 9:30 am - 10:45 am

William A Ewell

This course seeks to identify some of the chief characteristics of American fiction published since about 1965, and to explore the various ways in which the novels and stories from that period represent, critique, and inform American ways of life, both lived and imagined. We’ll begin by contrasting the “postmodernist” aesthetic that emerged in the late 1960s with the subsequent period’s countervailing impulse towards realism and minimalism. From there, we’ll track the legacy of these styles to the current moment in order to develop some hypotheses about what exactly is “contemporary, “American,” or even “literary” about contemporary American literature. Author might include Thomas Pynchon, Philip Roth, Lorrie Moore, Jesmyn Ward, Jhumpa Lahiri, and others.



ENG 380 Film and Genre: Versions of Pastoral

001 TR 9:30 am - 10:45 am

Randall Roorda

In this class we’ll reflect on genre in film through the vehicle of what’s called a mode: some manner or motif that informs an expressive work. The mode is pastoral. Rooted in ancient Rome and elaborated in Renaissance lyrics, pastoral once referred particularly to works featuring flute-wielding shepherds wooing winsome maids in idyllic rural settings, an urban sophisticate’s fantasy of escape to Edenic nature. Since then, the term has broadened to include scenarios of retreat to nature more generally. The trajectory can be reversed: pastoral repose may be ruptured by some agent of industrial civilization—a machine in the garden (as Leo Marx calls it). Pastoral’s sway is great, especially in light of prevailing environmental concern, which it’s apt to convey. In film, versions of pastoral trace through works in genres as various as rom com, melodrama, sci fi and fantasy, even horror thrillers. Tracing this mode through such genres in light of such concern, we’ll explore and reflect on all three. Films we may cover include: Bringing Up Baby (1938); I Know Where I’m Going! (1945); All That Heaven Allows (1955), The Birds (1963), Local Hero (1983), Safe (1995), Princess Mononoke (1997), Minority Report (2002), Avatar (2009), Moonrise Kingdom (2012), and Okja (2017). Assignments: some readings, brief weekly responses, midterm and final exams with take-home essays.


ENG 380

002 MWF 11:00 am - 11:50 am

Catharine Axley         

Documentary shorts (40 minutes or less) originate from the earliest recorded moving images in human history, and have recently re-emerged as a popular medium at film festivals, streaming online on journalistic outlets, and reaching audiences through social media. In this course, students will examine documentary shorts produced over the past 120 years and from around the world, developing an eye for analyzing film techniques and structures that make these shorts so powerful. Concurrent with this study, students will learn the basics of documentary production, working to apply their new understanding of documentary form to create a documentary short of their own. 



ENG 407-001: Meets with ENG 507-002

001 M 5:00 pm - 7:30 pm

Gurney M Norman

The premise of this course in autobiographical writing is that every person has stories to tell about her or his experiences of life. It is assumed that each member of the class is self-motivated to write his or her individual life-stories. Many will want to write their stories from deep personal need as part of their journey of self-discovery. Others will be more interested in making a record of their lives, for future use by family members. Perhaps the writer will simply want to express long-held feelings, emotions, memories, facts, secrets. Regardless of motive, the basic task for each student writer is to produce a minimum of five standard manuscript pages (about 300 words per page) per week for the next twelve weeks, for a total of 60 pages. As the final project of the semester, students will assemble the written pages in manuscript form according to professional standards.



002 T 5:00 pm - 7:30 pm

Gurney M Norman

In this course, students practice the art of fiction writing. The focus is on short story writing but other forms of narrative fiction (and non-fiction) may be included. Our class meetings feature writing exercises in which students practice various aspects of traditional story-writing such as plot development, dialogue, description, character development and different styles of narration. They also feature intensive small-group meetings for discussion and critique. Each week throughout the semester, students will bring to each class 3 pages (700-800 words) of new writing. The pieces will be in the form of 'take home' exercise assignments. In addition to weekly writing exercises in and out of class, you will be asked to produce during the semester two polished, original stories that represent your best effort, plus, near semester's end, one finely-edited story for the class' magazine, INTURN.


ENG 425

001 TR 3:30 pm - 4:45 pm

Erik A Reece

This course will introduce students from all majors to both the literature and the practice of environmental writing. As Bill McKibben points out in the introduction to our main text, American Earth, “environmental writing” is in many ways a sequel to “nature writing.” Whereas the great American nature writers like Henry David Thoreau and John Muir celebrated this country’s wilderness and urged readers to avail themselves of it more often, environmental writers approach the same subject with less innocence and more urgency. Take, for example, UK’s own Robinson Forest. A nature writer would celebrate its beautiful streams and rock formations; an environmental writer might do that too, but then she or he would point out that Robinson Forest is surrounded and threatened by mountaintop removal strip mining. In other words, environmental writers take seriously the threat that human beings pose to the natural world. Which leads to an odd American phenomenon: while, as McKibben also claims, environmental writing might be American’s single most distinctive contribution to the world’s literature, it clearly hasn’t been successful enough in curbing Americans’ addiction to fossil fuels, agricultural chemicals, and a consumer culture that is the main driver of climate change. And yet there have been important environmental victories brought about primarily by writers: Rachel Carson’s Silent Spring led to the banning of DDT; Wendell Berry’s Unsettling of America let to the organic, local food movement that has changed the way millions of Americans grow, eat and shop for food. There are many more examples. The point being: writing remains one of the most important ways to effect change. It is one of the most effective ways to advocate for what Aldo Leopold famously called the Land Ethic. “In short,” wrote Leopold sixty years ago, “land ethic changes the role of Homo sapiens from conqueror of the land-community to plain member and citizen of it. It implies respect for his fellow-members, and also respect for the community as such.” All of the writing we do this semester will be in the service of that fine ideal. We will learn from the masters of the genre, then we will employ those lessons in various forms of environmental writing. We will emphasize writing with empathy, passion, authority and concreteness.



001 TR 12:30 pm - 1:45 pm

Joyce M MacDonald

In this section ENG 440, we will read several of Shakespeare's history plays, paying special attention to the ways they represent the connections between fathers and sons. Ideally, royal power was supposed to transfer smoothly from late father to living son, but so often in these plays, fathers are at odds with their sons, or have only negative and dangerous lessons to pass on. What can these plays tell us about Renaissance conceptions of masculinity, of fatherhood, and of royalty itself? How do sons become men, and how do the lessons they learn about manhood inform their kingship?



001 TR 9:30 am - 10:45 am

Rynetta S Davis         

An advanced African-American literature course on a period, a theme, a genre, or one or more authors. See departmental listings for different offerings per semester. May be repeated to a maximum of 9 hours under different subtitles. Prerequisite ENG 330 Text and Context or consent of the instructor. Fulfills ENG Major 400-level course requirement. Provides ENG Major Elective credit and ENG minor credit.


ENG 480GStudies in Film: The Hollywood Western

001 MWF 11:00 am - 11:50 am

Armando J Prats

This course proposes to study—at a level no lower than that of a senior seminar (as indicated by the course number: no lower-division students, please)—the influence of Hollywood’s mythic West and World War II movies on the generation that fought in the Vietnam War, the baby boomers. Growing up in the fifties, that generation was exposed to an almost weekly fare of Westerns and war movies. For many of these young men and women these films represented not fantasy or escape or mere “entertainment” but American history itself. For America’s was a special, an “exceptional” history, no different from the heroic myth in the Sunday matinees screens. America, after all, had conquered the West—rid it of Indians and bad guys. And more important, America had never lost a war. And the truth is that no one—not parents or schools or elected government officials, and certainly not Hollywood itself—was there to tell the children differently. On the contrary, the nation, in a state of high anxiety because of the Cold War, implicitly expected its young to believe in the heroic, never-wrong, always-triumphant America that these movies promoted. The testimony of the Vietnam veterans, especially those who volunteered in the mid-sixties, is clear: they went because it was their time to be like the heroes that they had grown up watching in the movies. Their Vietnam would be another triumph, and they would come home heroes, like their fathers and their fathers’ fathers. This course proposes to investigate what that generation saw, or thought it saw, that inspired it to fight in Vietnam. Moreover, we will explore the relation of those inspiring and inspirational tropes and values and narratives in relation to documented realities of what they actually saw—and did—in Vietnam. We will explore three different but obviously related kinds of movie: 1) the classic Hollywood Western and war films—e.g., Stagecoach, Shane, High Noon, etc., along with so-called “Indian” Westerns—Fort Apache, She Wore a Yellow Ribbon, The Searchers, etc., and Sands of Iwo Jima, Battleground, Twelve O’clock High, and They Were Expendable; 2) so-called “revisionist” Westerns and war films, beginning in the early sixties with Ride the High Country and The Man Who Shot Liberty Valance and on to the “spaghetti” Westerns of Sergio Leone, including that unexplainable favorite of many students, The Good, the Bad, and the Ugly, and on to The Wild Bunch, Pat Garrett and Billy the Kid, and Unforgiven. Of the “revisionist” war movies we could try Saving Private Ryan and other much earlier ones, like The Dirty Dozen and Kelly’s Heroes; and 3) movies of the Vietnam War—Apocalypse Now, The Deer Hunter, First Blood, Rambo: First Blood Part II, Full Metal Jacket, Casualties of War, and We Were Soldiers—and we will try to explore the ways in which these movies explain (or not) the historical tragedy of the Vietnam generation. Oral reports based on serious research. Final research paper or multi-modal project. Class participation and steady attendance. NO CELL PHONES, NO LAPTOPS.



001 TR 3:30-4:15

Matthew C. Giancarlo

In this Departmental Honors course we will read all of Geoffrey Chaucer’s Canterbury Tales. A few contextual texts (Boethius, Romance of the Rose) will be included along with selected criticism. All reading will be done in the original Middle English, so we will spend some time getting familiar with the language and reading the poetry out loud. Work will include research reports, a short mid-term essay, and a substantial research term paper.


ENG 507: ADV Wkshp Crtv Wrtng: Fiction
001 TR
11:00 am - 12:15 pm
William A Ewell
This is a course for fiction writers with prior experience in the workshop environment. You'll produce three original stories, as well as a thorough revision of one of them. You'll critique and discuss your peers' work. And you'll compose an artist's statement in which you situate your work within the context of other works of fiction.
ENG 507: ADV Wkshp Crtv Wrtng: Autobiograpjhy
002 M
5:00 pm - 7:30 pm;  Meets with ENG 407-001
Gurney M Norman
The premise of this course in autobiographical writing is that every person has stories to tell about her or his experiences of life. It is assumed that each member of the class is self-motivated to write his or her individual life-stories. Many will want to write their stories from deep personal need as part of their journey of self-discovery. Others will be more interested in making a record of their lives, for future use by family members. Perhaps the writer will simply want to express long-held feelings, emotions, memories, facts, secrets. Regardless of motive, the basic task for each student writer is to produce a minimum of five standard manuscript pages (about 300 words per page) per week for the next twelve weeks, for a total of 60 pages. As the final project of the semester, students will assemble the written pages in manuscript form according to professional standards.
Enter your linkblue username.
Enter your linkblue password.
Secure Login

This login is SSL protected