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Summer Courses


Summer 2023

For Undergraduate Curriculum click here.
For specific schedules and section numbers, please see the schedule on
More course descriptions are coming soon!


TR 9:00 synchronous online
MWF asynchronous online
Deidra White

Course description forthcoming. UK Core: Arts & Creativity
ENG 180 Great Movies: Subtitle TBD
TR 10:00 synchronous online
MWF asynchronous online
Jess Van Gilder

Course description forthcoming. UK Core: Arts & Creativity
ENG 280 Introduction to Film
TR 11:00 synchronous online
MWF asynchronous online
Kimaya Thakur

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. No prerequisites. UK Core: Intellectual Inquiry in the  Humanities

ENG 440G STUDIES IN BRITISH LIT: Shakespeare Aloud
6/13/2023 - 7/12/2023
MTWRF 9:10 - 11:20 online synchronous
Walter Foreman

NOTES:  (1) This class will meet entirely on line, via Zoom, so students taking it will not need to come to campus or be in Lexington to take the course; (2) ENG 330 is NOT a required prerequisite for this section of ENG 440G. Anyone interested in the topic is welcome to enroll (i.e., has the "consent of the instructor," who may be reached at

Though Shakespeare designed his plays to be spoken aloud and understood aloud, John Heminges and Henry Condell, two of his longtime partners in the theater business, thought they were also valuable texts for private reading so they published a collected edition several years after their friend's death. This course is founded on the notion that these forms of encounter with the plays—private reading (whether silent or—as would have been far more common in Shakespeare's day than in ours—aloud) and communal reading and speaking aloud (and thus listening)—are mutually illuminating and provide a way into a capacious understanding and appreciation of the interacting emotions and arguments of the characters, their ideas and doubts, their desires and needs, their griefs and joys. To read a Shakespearean role as if you knew what it meant is a great start toward finding out what in fact it does mean, or rather what it can mean, as is hearing other people read other characters' parts as if they too knew what they meant by what they said.  We will look at how different oral performances find different meanings in the same works. We will use two plays, one a tragedy and one a comedy: Macbeth and Twelfth Night. We will read lots of Shakespeare's words in class, tinkering with rhythm, stress, and silence, and we will look at video and listen to audio versions of our plays to get a sense of how other people think they should sound. The aim of the course is not to produce actors for public consumption but to provide readers with a more vital connection to Shakespeare's words—a performance for oneself.