Graduate Courses




ENG 607 001 GRAD WRTNG WKSHP: Poetry
M 5:00 Julia M. Johnson

A course for experienced writers who have some knowledge of contemporary American literature. Equal emphasis on students' original work and outside reading. Each student will produce a chapbook of poems or stories and write a short introduction to it. May be repeated with the same subtitle to a maximum of fifteen credits.
ENG 607 002 GRAD WRTNG WKSHP: Fiction
M 5:00 Crystal E. Wilkinson

This is a fiction workshop for students enrolled in the MFA in Creative Writing program. You will be writing approximately 45-60 pages of fiction (about three short stories) during the semester. As a courtesy to your fellow writers please adhere to the 20-page maximum per story. Novel chapters can also be submitted. You will also be reading three or four works of fiction for insights into craft. “How did reading this contribute to my education as a writer” will be the core reflection on reading each published piece. You will give a presentation on a craft topic that’s relevant to your own writing. All fiction writers enrolled in the MFA program will be admitted to the workshop, but if you are not enrolled in the MFA program please email for permission. Our workshop will focus on 
Articulating criticism in a constructive manner;
Compiling a revision list;
Contributing to a community of writers.
ENG 607 003 GRAD WRTNG WKSHP: Creative Nonfiction
W 3:30 Erik Reece

The goal of this course is to make art out of experience. A successful piece of creative nonfiction should make the world appear a more intense and interesting place than its reader previously imagined. Anthropologists tell us that the very first stories were told by hunter-gatherers, sitting in a circle, around a fire. They were stories of the hunt, and they bound the tribe together with ties that were, I would argue along with the philosopher Richard Rorty, stronger than the laws that came much later. In other words, we are a storytelling species. Story is vital to who we are. In this class, we will replicate that early storytelling. We will sit in a circle and talk very thoroughly and helpfully about how to tell true stories and how to help each other tell the best stories possible. Story builds solidarity—that was Rorty’s notion. In this course, we will aim for solidarity among ourselves and with our readers. The excellent American nonfiction writer Rebecca Solnit has said: “Nonfiction is the whole realm from investigative journalism to prose poems, from manifestoes to love letters, from dictionaries to packing lists.” She goes on: “This territory to which I am, officially, consigned couldn’t be more spacious, and I couldn’t be more pleased to be free to roam its expanses.” The “fourth genre” of creative nonfiction, this redheaded step-child, is spacious, and in this class we will explore that varied terrain. Major American novelists and poets are turning to the fourth genre more and more. This course will be designed with that in mind. That is to say, it will be aimed at fiction writers and poets in the MFA program who wish to explore a secondary genre as a way of achieving writing goals that may only exist outside fiction and poetry. And who wish to maybe make a little money.
ENG 608 001 CRAFT OF WRITNG: Creative Writing in Digital Spaces
M 2:00 DaMaris B. Hill
This MFA craft workshop is an intensive workshop for MFA students to explore creative writing in digital spaces. Our focus will be on your own work.  In addition, we will consider a selection of contemporary twenty-first century literatures and explore strategies for imaging new possibilities for your own work. This course challenges you to take risks as a writer and encourages you to experiment wildly. 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 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 (poetry, prose, or other). 
W 3:30 Jordan Brower

This seminar prepares graduate students to teach literature classes at the University of Kentucky and elsewhere. It offers instruction and guidance in curriculum design, syllabus creation, reading and work exercises, and more. Students develop a portfolio of course materials and refine skills for teaching literature and film at the introductory as well as advanced levels of an undergraduate curriculum. This course is not a requirement for completing the Ph.D. degree, but it is required for graduate instructors to be approved to teach their own introductory- level literature and film classes in the University of Kentucky English Department curriculum.
T 2:00 Jill Rappoport

Readings in the poetry and prose non-fiction of the period with relevant scholarship.
R 5:00 Kamahra Ewing

Detailed examination of one or another topic in contemporary theory of interpretation, such as literature and analytical philosophy, phenomenology and literature, structuralism, Marxism, psychoanalysi. May be repeated up to 6 credit hours under different subtitles.
ENG 771 001 SEMINAR IN SPECIAL TOPICS Seminar in Special Topics: (Subtitle TBD)
R 2:00 Nazera S. Wright

Seminar in special topics: includes genres and subject matters such as ssymbolism which cover more than one period of literature. Recent topics: symbolism and allegory. May be repeated up to 9 credit hours under different subtitles.
ENG 781 001 SEMINAR IN FILM: 21st-Century American War Films
T 5:00 Alan M Nadel

This course exams two genres of American war film that have emerged in the 21st Century, reflecting cultural narratives that inform the concept of international war and the modes of resistance to the warfare state in the first and second decades of the century. The first genre, which emerged shortly after President Bush’s declaration of “Mission Accomplished,” includes Jarhead, The Hurt Locker, Redacted, The Green Zone, American Sniper, 13 Hours, Hacksaw Ridge, and Dunkirk. We will also look at the cultural narratives informing these films, as they are reflected in other works, including the first season of LOST, as well as Get Out, Us, Deepwater Horizon, Sully, and Captain Phillips. In addition to readings about film and about contemporary cultural history, you will be required to write three short (800-word) analytic papers, make a conference-style presentation, and produce a publishable length (6000 to 9000 words) research paper.


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