Course Descriptions: Fall 2004

200 Level

ENG 207-001 T 3:30-6:00 pm Marksbury

BEGINNING WORKSHOP IN IMAGINATIVE WRITING: FICTION
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 207-002 M 3:00-5:30 pm Staff

BEGINNING WORKSHOP IN IMAGINATIVE WRITING: FICTION
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 207-003 W 3:00-5:30 pm Howell

BEGINNING WORKSHOP IN IMAGINATIVE WRITING: POETRY
A poetry writing workshop that focuses on how our writing improves when we are active members of a writing community. The workshop will act as this community; writers involved will be responsible for new work every week, while also being committed readers of their fellow members' work. As the weeks progress, we work to "experience" poetry, rather than "think through" poetry, understanding the difference between the academic-mind and the artist-mind.

ENG 207-004 R 3:30-6:00 pm Staff

BEGINNING WORKSHOP IN IMAGINATIVE WRITING: FICTION
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG/LIN 210-001 MW 4:00-5:15 pm O'Hara

HISTORY OF THE ENGLISH LANGUAGE
This is an introductory course in the History of the English Language in which we will study the ways in which English has developed from its origins to modern times.

PREREQUISITE: NONE

PURPOSE of the course: To answer the following questions: Where does Modern English come from? How has English changed over the last 1200 years? What do those changes show us about the process of language change in general? What influence have class, race, gender, and politics had on the development of English? What are some of the more common myths about language and why are they wrong? What is the future of English as a world language?

LEARNING OBJECTIVE: The student will be able to analyze, compare, and contrast language data drawn from all periods of English and to explain the processes by which Modern English evolved. Learning to do this kind of analysis is the most important part of the course.

METHOD: Daily quizlets; quizzes on major topics; exams on related topics; short analytical exercises and written assignments to reinforce what has been learned in class. No cumulative mid-term or final. Students will have the opportunity to improve their grades by doing optional extra-credit assignments.

TEXTS: The Cambridge Encyclopedia of the English Language, David Crystal, 2d edition, Cambridge University Press, 2003.
Language Myths, (eds) Laurie Bauer and Peter Trudgill, Penguin, 1998.

NOTES:

1. English majors will find that this course complements their course work in literature.
2. Students in the College of Communications can satisfy their Language requirement (under Option B) by taking ENG/LIN 210 and ENG/LIN 211 in any order.
3. Overrides will be considered only for students on the waitlist who attend the first class session.

ENG/LIN 210-401 MW 6:00-7:15 pm O'Hara

HISTORY OF THE ENGLISH LANGUAGE
See description for ENG/LIN 210-001 above.

ENG/LIN 210-402 TR 6:00-7:15 pm O'Hara

HISTORY OF THE ENGLISH LANGUAGE
See description for ENG/LIN 210-001 above.

ENG/LIN 211-001 TR 3:30-4:45 pm Guindon
ENG/LIN 211-002 TR 5:00-6:15 pm Guindon
ENG/LIN 211-401 MW 5:30-6:45 pm Guindon

INTRODUCTION TO LINGUISTICS I
This course will introduce and explore the forms and structures of human language, how they are similar, how they are recorded, and how they can change over time. Significant sections of the course will cover:
-human speech sounds and how they are used (Why, for instance is 'blaps' a possible English word, but not 'bspla'? Why is the 's' at the end of 'leaves' actually pronounced as a 'z'?)
-word-formation (Why can we form 'reality' out of 'real + ity' and 'sanity' out of 'sane + ity', but not 'dearity' out of 'dear + ity?)
-sentence structure (Why is 'pretty women and horses' ambiguous? How are the two phrases in 'looking sharp, looking for love' different?)
Students can expect daily homework assignments designed to enable them to understand linguistic forms, and to deduce linguistic structures by applying methods of structural analysis to data drawn from a variety of languages. Test formats will generally be based on the homework.

ENG 212-001 MWF 12:00-12:50 pm Marks

INTRODUCTION TO LINGUISTICS II
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 230-001 MWF 9:00-9:50 am Fisher

INTRODUCTION TO LITERATURE: TALES OF ADVENTURE
In this course we will closely read, view, and write about several works from the adventure genre, including fiction and nonfiction books and films. Our primary concern will be toward how we read literature (or film), and how we apply basic literary terms and concepts to the adventure genre. As we analyze the material, we'll also be looking closely at aspects of fear within each narrative. I am particularly interested in discussing why, if they know there are risks, the characters and authors still seek adventures-what is their motivation? One of the ways adventure writers and filmmakers balance fear is to maintain a sense of humor about the situations. We will consider whether or not the balance between fear and humor is necessary for a successful narrative. Ultimately, we cannot examine fear or humor without paying significant attention to how location affects each narrative, or how place influences reactions, from tropical jungles to urban jungles, from the desert to the Arctic. Assignments will include short essays and exams, in addition to weekly journals. Some of the texts we will examine include Jon Krakauer's Into the Wild, Sebastian Junger's The Perfect Storm, Julie Leigh's The Hunter, and James Herbert's Dune, as well as films like Spielberg's Raiders of the Lost Ark, Myrick & Sanchez's The Blair Witch Project, and Hitchcock's North by Northwest.

ENG 230-002 MWF 11:00-11:50 am Zunshine

INTRODUCTION TO LITERATURE: DOUBLES, DOPPELGANGERS, AND TWINS ACROSS LITERARY GENRES
We tend to like the people who resemble us. But what if we encounter somebody who not only looks like us, but also acts like us and generally seems to adopt our identity? Though offering some comic possibilities (just think of TV sitcoms featuring cute twins), this situation can easily descend into creepiness. It seems that whoever imitates us this diligently cannot have our best interests in mind. Rare as the appearance of a doppelganger is in real life, it seems to have been one of the favorite plots for fiction writers for at least two thousand years. This course will explore the persistence of this plot by focusing on such questions as, why does it appeal to us? At what point the comic aspect of the "twin" motif metamorphoses into the uncanny, sinister, threatening? Do different genres exploit our fascination with doubles differently? Do different cultures invest doppelgangers with distinctly different psychosocial meanings? The tentative reading list includes plays by Shakespeare and Dryden; novels by Vladimir Nabokov, Oscar Wilde, Fedor Dostoyevksi, and Ignacio Padilla; and short stories by Jorge Luis Borges and Edgar Allan Poe. And we will always have Hitchcock. Two papers, two midterms, and two finals. Upon a second thought, make that one midterm and one final.

ENG 230-003 MWF 12:00-12:50 pm Reese

INTRODUCTION TO LITERATURE: COMEDY
This course will examine the history of comedy over a broad timeline in order to discover what comedy is and the various ways that it functions within a variety of social contexts. We will examine the conventions that have defined comedy as a genre across time while also paying close attention to how those conventions have changed or been modified in order to meet the needs of a particular historical moment. Finally we will examine how comedy is used in various ways as a means of social or political power (either for change or to support the status quo) and investigate how and why comedy is able to have this power to greater or lesser degrees in relation to the cultural moment in which it is produced. Some of the questions this course will deal with include: What is comedy? What are the conventions or central concepts that define it? How does it remain similar over the course of time? How does it change over time? How can it be used to support or disrupt the social norm? Why use it for these purposes as opposed to some other form of social influence?

Some of the possible texts for this class include:

Aristophanes, Birds or Lysistrata
Chaucer, "The Miller's Tale" and/or "The Wife of Bath's Prologue"
Shakespeare, Taming of the Shrew, A Midsummer Night's Dream, or Much Ado About Nothing
Joseph Addison, Spectator Essays on Wit
Alexander Pope, "The Rape of the Lock"
Jonathan Swift, "A Modest Proposal"
Jane Austen, Emma or Pride and Prejudice
E.M. Forster, A Room with a View
Evelyn Waugh, Vile Bodies or A Handful of Dust
Tom Stoppard, Rosencrantz and Guildenstern are Dead or The Real Thing
Julian Barnes, England, England

ENG 230-004 TR 9:30-10:45 am White

INTRODUCTION TO LITERATURE: A WALK ON THE WILD SIDE OF AMERICA
A tour of the America Dream as it might be for those inside America, but outside the Dream. An eclectic tour, certainly, mostly by way of fiction, supplemented with film, photography, painting, poetry, song, and cyberspace, some of which dates back to World War 2, but the remainder ranges from the '50's to our new century. The texts, not quite love-letters to mainstream USA, illustrate, often comically, how far from mainstream America so many live. We will explore the meanings such artists attach to the Dream and how previous writers (DeToqueville, Emerson, and others) have traditionally defined it. In novels such as Even Cowgirls get the Blues (Tom Robbins), Catch 22 (Joseph Heller), Ham on Rye (Charles Bukowski), or similar books, where hilarity hangs out with sorrow and purposeful lives encounter meaninglessness, dream and reality often seem the same. Scheduled films include The Big Lebowski and Pulp Fiction. Music will include folk music, blues, protest songs of fifties and sixties (such as The Weavers, Dylan, Paxton), and more. Poetry selections will come as classroom handouts from The Outlaw Book of American Poetry. Films, photos, and the remaining supplemental material will be placed on reserve or presented in class.

Some of the questions which should arise in our discussions include: how effectively and how truly does this art render the world it describes? Can such "raw" material really become "art"? What are some differences between art and propaganda? are these texts really worth our time? What elements of American society do these selections target? Why? Why provoke the ire of the mainstream? Which of these works seem to you most worthwhile and why? Least worthwhile? What artistic means do these artists employ to achieve their ends? Finally, and obviously, the Dream itself. What is it and what does it mean for us?

Short papers, mid-term, final exam.

You must not only participate in the class but you must be conspicuously present in order to claim your share of the glory.

ENG 230-005 TR 2:00-3:15 pm Mayer

INTRODUCTION TO LITERATURE: LITERATURES OF ROCK AND ROLL
"I know, it's only rock and roll,
but I like it,
like it, yes I do." M. Jagger/K. Richards

This class will look to the social, aesthetic, political and cultural contexts in which the various genres of Rock and Roll have been produced through close readings of various works (novels, memoirs, liner notes, films, songs, etc.). We will not simply listen to songs in order to determine whether we "like" them (although this will oftentimes be the case); rather we will attempt to understand particular songs, bands and genres as things and people that are influenced by - and influential in - the everyday world.

While the class will begin by looking into the combination of blues and country music (among other influences) that coalesced to form what we now call Rock and Roll, and will finish right around Y2K, the class will pay closest attention to the decades of the 1960s, 1970s and 1980s. We will read books and watch films that both reinforce and question the position of late 1960s music as "the high point" of Rock; we will consider disco's position as a radical democratic alternative to 1970s Rock; we will ask what makes an Indie label so special.

You need not be a regular customer at CD Central to have success in this class - any and all music knowledges are encouraged.

Some questions we might ask: What are the various positions of the Rock artist? The fan? The critic? Is Rock and Roll gender-bending? What role do record companies have in the shaping of musical styles? What makes a novel a "Rock and Roll book"? How about a "Rock and Roll film"? Has rock gone global? How does the music reflect the culture and society from whence it springs? How might it alter that same culture and society? And what, exactly, does Rock and Roll itself actually signify?

ENG 231-001 MWF 1:00-1:50 pm Walter

LITERATURE AND GENRE: AUTOBIOGRAPHY AND/AS FICTION
When is one's story fact and when is it fiction? In this course, we will investigate the thin line between "fact" and "fiction" by examining (embellished) autobiographies and (autobiographical) novels from nineteenth- and twentieth-century American literature, likely including two of Frederick Douglass's personal narratives, Fanny Fern's Ruth Hall, Harriet Wilson's Our Nig, Richard Rodriguez's Hunger of Memory, and Lauren Slater's Lying. If time allows, we may also attempt to write portions of our own autobiographies--fact or fiction.

ENG 231-401 MW 6:00-7:15 pm Godbey

LITERATURE AND GENRE: DETECTIVE STORIES
From Edgar Allan Poe to Sue Grafton the detective novel (and its various branches such as film noir, crime novels, legal thrillers, etc) has long been a staple of American popular culture. Beginning with the first literary detective, Poe's C. Auguste Dupin, in "The Murders of the Rue Morgue" (1841), the past 160 years have seen the development of the detective story into a distinct genre with its own literary conventions and audience expectations. Critics such as John Cawelti have suggested a number of reasons for the development of the genre, noting that at its root there is a close connection between detective stories and the growth of modernity in America. As a result, while detective stories typically are relegated to the status of popular fiction, thus connoting a lack of artistic and literary merit, the genre is and continues to be an important influence on contemporary literature, an influence that is evident in the post modern fiction of authors such as Thomas Pynchon, Don Delillo, and Paul Auster, to name a few. Further, the genre has grown into an industry all its own with virtually all segments of society featuring their very own detective. This class offers us a chance to study the development of detective stories both past and present as we attempt to offer some explanations for the development of the genre and for the enduring popularity of the detective him/herself. Among some of the themes we will explore that contributed to the genre's growth and have shaped its development over the years are modernization, urbanization, regionalism, feminism and changing gender roles and expectations, and Hollywood. At the same time the class is an opportunity to trace the detective story's influence on contemporary literature by reading works that, while not officially detective stories, nevertheless emerge from the tradition and modify and play with the conventions of the genre. Finally, and perhaps most importantly, our study of detective stories is an introduction to literary studies; by focusing on issues such as historical and cultural influences and stylistic conventions that are both affirmed and subverted throughout the genre we will begin to map the contours of the genre and develop a better understanding of how to approach literature as a field of study.

ENG 233-001 MWF 12:00-12:50 pm Luft

LITERATURE AND IDENTITIES: BECOMING AMERICAN
What distinguishes you from other Americans? What customs other than American ones have helped to shape who you are and how you behave? America may be your citizenship but your heritage, or nationality may come from another country in the world your parents and other ancestors came from. The single most important goal for this course is for you to understand your own background and to make connections between the experiences of your ancestors and those of others. This course will use immigrant literatures to help you understand the process of becoming American, and to better understand terms such as "ethnic," minority," and "immigrant," -- terms even scholars fail to come to a consensus on. We will learn about immigration policy and how these policies helped to shape American identity in terms of race, gender and ethnicity. You will be asked to write your own immigration history and a 5-7 page critical essay about any immigration issue using texts from our reading list. You will also take weekly quizzes on the readings and an in-class midterm and final exam, both consisting of short answer and essay questions.

Reading List:
Upton Sinclair, The Jungle (Lithuanian) 1905
Ole Rolvaag, Giants in the Earth (Norwegian) 1927
Paule Marshall, Brown Girl, Brownstones (Barbadian) 1959
William Styron, Sophie's Choice (Polish) 1976
Oscar Hijuelos, The Mambo Kings (Cuban) 1989
David Guterson, Snow Falling on Cedars (Japanese) 1994
or
Charles Johnson, Middle Passage (African) 1990
Nora Okja Keller, Comfort Woman (Korean) 1997

Reader to include excerpts from the following:
Werner Sollors Beyond Ethnicity
Ruoff and Ward's Redefining American Literary History
Homi Bhabha Nation and Narration

Grading Criteria
Essay #1 4-6 pages 75 points
Essay #2 5-7 pages 100 points
Midterm exam 100 points
Final exam 100 points
In class quizzes 25 points
Participation 25 points
Total 425 points

A (90-100%) = 385-425 points
B (80-89 %) = 340-384 points
C (70-79%) = 297-339 points
D (60-69%) = 255-296 points
E (59% and below) = 254 points and below

ENG 234-001 TR 11:00-12:15 pm Davis

INTRODUCTION TO WOMEN'S LITERATURE: AMERICAN WOMEN WRITERS
English 234 is a survey of American women's writing. In this course, we will focus on women and work, identity formation, and sexuality. We will begin in the 1920s and work our way through the 1990s. Possible readings for this course include, Zora Neal Hurston's Their Eyes Were Watching God (1937), Lillian Smith's Strange Fruit (1944), Shirley Jackson's Life Among the Savages (1953), Toni Morrison's The Bluest Eye (1970), Lucy Grealy's Autobiography of a Face (1994), and Barbara Ehrenreich's Nickel and Dimed (2001).

ENG 234-002 TR 12:30-1:45 Froula

300 Level

ENG 306-001 MWF 10:00-10:50 am Purdue

INTRODUCTION TO PROFESSIONS IN WRITING
If you enjoy writing but aren't sure how to make money doing it, this course is for you! Introduction to Professions in Writing is a fun, practical class that explores nonfiction writing in real-world contexts, including job opportunities at the college and high school levels, at presses that publish books or magazines, and at other places seeking skilled writers. This course will focus primarily on three writing professions: freelance writing, editing and teaching writing. Students will learn copyediting skills, how to write a query letter, how to edit for story, how to create a lesson plan and how successful editors and teachers of writing go about their jobs. Students will also have the opportunity to work closely with Limestone: A Journal of Art and Literature for part of the semester to gain valuable hands-on journal experience. A variety of guest speakers from different professions in writing will visit the class throughout the semester as well. Texts may include The Elements of Style, The Writing Life: Writers on How They Think and Work, A Writer's Guide to Nonfiction and Copyediting: A Practical Guide.

ENG 306-002 MWF 12:00-12:50 pm Biggs

INTRODUCTION TO PROFESSIONS IN WRITING
This course attempts to answer the question, "But can I make money at this?" "Professions in Writing" offers a pragmatic introduction to the following career paths: freelance writing, editing and publishing, and teaching writing. Students will learn how to market their work to journals and magazines, including how to find the right journal, what to write in a cover letter, and how to edit for publication. Also, we will also focus on professional editing in theory and practice, in both publishing and teaching. We will have guest speakers and an occasional field trip to see and meet professional editors and publishers in their own environment. In this course you will get resume-worthy experience as a Peer Tutor in the UK Writing Center, as a special staff member of Limestone (the Literary Art Journal at UK), and hopefully your own publication.

LIN 319-001 MW 4:00-5:15 pm Guindon

HISTORICAL LINGUISTICS
This course will explore theories and instances of language change. The major theories in the field will be discussed, especially as regards the classification of language families, models and explanations of language change, and the role which social factors play in linguistic behavior and language change.

We will also analyze languages spoken all over the world, both in the past and in the present, in order to deduce the changes which have occurred in their sound systems, their word-formation patterns, their sentence structures, and their lexical inventories.

Based on our understanding of theories of language change and our knowledge of grammatical and lexical changes which have occurred, we will reconstruct earlier languages based on comparative evidence drawn from their daughter languages, and reconstruct earlier states of single languages based on internal evidence.

Students can expect daily reading and/or written assignments designed to enable them to understand the theories, and to apply the methods of structural analysis and linguistic reconstruction. Test formats will be based on homework, lectures and readings. Prerequisite: LIN 211 or ENG 211.

ENG 330-001 MWF 9:00-9:50 am Lewin

TEXT AND CONTEXT: RENAISSANCE LYRIC POETRY
In this course we will focus on six major lyric poets of the English Renaissance (Wyatt, Sidney, Spenser, Shakespeare, Donne, Herbert), all of whom decisively influenced the literary projects of subsequent English and American poetry, and all of whom focused on, wrestled with, and threw themselves into the love of good and bad women and of God. We'll attend to the emergence of English lyric prosody and on lyric as a genre and as a form of personal and public expression. We'll also read around in relevant background materials such as the short poems of Dante, Petrarch, Horace, Ovid, and the Psalms.

ENG 330-002 MWF 11:00-11:50 am Carter

TEXT AND CONTEXT: MELVILLE AND THE CIRCUS
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 The Confidence Man, "Bartleby," and "Benito Cereno" drag representational characters and allusions from John Jacob Astor to William Wordsworth and various other contemporaries into the offices of Wall Street and onto boats on the Mississippi and south Pacific to examine that culture's trust in itself and in that fast-changing America. This course will examine these works and those times through the fiction and from a variety of other mid 19th century sources. Work will be reading journals, two short essays, and one longer essay.

ENG 330-003 TR 9:30-10:45 am Uebel

TEXT AND CONTEXT: JOSEPH ROTH AND THE FEUILLETON
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 330-004 TR 11:00-12:15 pm Bebensee

TEXT AND CONTEXT: CONSTRUCTING THE AMERICAN GOTHIC
This course will trace the development of the American Gothic from the novels of Charles Brockden Brown through the tales and poems of Edgar Allan Poe-roughly the period 1795-1845. We'll look at the major concerns of the gothic, which reflects our enduring beliefs in the nature of evil, our pleasure in fear, and the compelling appeal of mysteries, as the genre adapts itself to a distinctly American landscape. The texts under consideration offer us characters who may be encountering the supernatural or may only be experiencing the projections of their own worst selves, their most base and uncontrollable prejudices and forbidden desires. People begin to wonder how many of their sensations they can trust, and whether there is any comfort to be found beyond the visible world. We'll see the cheery political assumptions of the new nation challenged by the staging of characters and situations that seem impossible or out of place in an America of autonomy, optimism, and freedom. These writers urge us to ask: What is an American? What are our ideals, and to what extent does it seem within our power to realize them? What power, if any, rules us? How much are we in control of ourselves? How well do we even know ourselves? To what extent can we ever be sure of anything? We'll discuss several critical methodologies for approaching these texts, and will look at psychoanalytic, Lacanian, and feminist perspectives. For motivated students. Class format is discussion.

ENG 330-005 TR 2:00-3:15 pm Bebensee

TEXT AND CONTEXT: CONSTRUCTING THE AMERICAN GOTHIC
This course will trace the development of the American Gothic from the novels of Charles Brockden Brown through the tales and poems of Edgar Allan Poe-roughly the period 1795-1845. We'll look at the major concerns of the gothic, which reflects our enduring beliefs in the nature of evil, our pleasure in fear, and the compelling appeal of mysteries, as the genre adapts itself to a distinctly American landscape. The texts under consideration offer us characters who may be encountering the supernatural or may only be experiencing the projections of their own worst selves, their most base and uncontrollable prejudices and forbidden desires. People begin to wonder how many of their sensations they can trust, and whether there is any comfort to be found beyond the visible world. We'll see the cheery political assumptions of the new nation challenged by the staging of characters and situations that seem impossible or out of place in an America of autonomy, optimism, and freedom. These writers urge us to ask: What is an American? What are our ideals, and to what extent does it seem within our power to realize them? What power, if any, rules us? How much are we in control of ourselves? How well do we even know ourselves? To what extent can we ever be sure of anything? We'll discuss several critical methodologies for approaching these texts, and will look at psychoanalytic, Lacanian, and feminist perspectives. For motivated students. Class format is discussion.

ENG 331-001 TR 2:00-3:15 pm MacDonald

SURVEY OF BRITISH LITERATURE I
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 332-001 MWF 1:00-1:50 pm Tri

SURVEY OF BRITISH LITERATURE II
ENG 332 surveys English literature from Dryden through the twentieth century. Readings, lectures, and class discussions will cover major writers, movements, and genres associated with the periods traditionally anthologized as the Restoration and Eighteenth Century, the Romantic Period, the Victorian Age, and the Twentieth Century. During the study of each period, one class will also survey trends and emphases in the arts of painting and printmaking. Early course study in rollicking satire will give way to Romanticism's philosophical hopes and disillusionments, then to Victorian self-doubt and decadence, and finally to the last century's literature chronicling the ravages of war, inhumanity on massive scale, and loss of individualism. Yet, lest we despair, almost all our reading also affords glimpses into the human potential for good, or at least for confession, penance, and forgiveness. Writers covered include the standard giants Swift, Pope, and Johnson; the mainstream Romantics; the Brownings, Tennyson, Hopkins, and Wilde; Hardy and Conrad; Yeats, Joyce, Lawrence, and Eliot. Nor will we overlook important contributors-mostly rediscovered women writers-figuring more prominently in the "new canon" of English literature. The course will trace development of poetry and prose genre-specific types such as the mock epic, parody, ode, ballad, novel, and essays in formal criticism and social commentary. We will read two novels in their entirety. In addition, students will be expected to demonstrate unflagging curiosity about the history, culture, social movements, and literary conventions associated with prose and poetry of the periods from 1660-2000. Quizzes, short and long writing exercises and responses, occasional short oral assignments, one major formal paper, mid-term and final in both short-answer and essay formats.

ENG 333-001 MWF 10:00-10:50 am Lewin

STUDIES IN A BRITISH AUTHOR: DONNE: POET, LUNATIC, LOVER
Why does the most passionate love poetry written during the English Renaissance elevate erotic love to a divine status? Why was its explicitness and its excessive language permissible in that era? When Donne wrote religious poetry, he used similarly extreme language, telling his God "Take me to you, imprison me." In this course, we will discover what makes Donne so delightful and so scandalous to our ears and to other readers. We will read some of his prose, too, in an attempt to understand the beauty, the complexity, and the originality of his understanding of love, God, the body, and the mind.

ENG 333-002 TR 11:00-12:15 pm Fulbrook

STUDIES IN A BRITISH AUTHOR: OSCAR WILDE
Almost everyone has heard of this famous and infamous late nineteenth-century writer: famous because of texts such as The Picture of Dorian Gray and The Importance of Being Earnest; infamous because of his being tried and imprisoned for "posing as a sodomite" and giving scandalous figure to what he called "the love that dare not speak its name." But how many readers know that Oscar Wilde aside from being a celebrated and excoriated dramatist and novelist wrote numerous fairy-tales and poems, that he was, in fact, married, that he was Irish, or that he wrote a famous ghost story? How many have read his moving and tragic letter to his former lover Lord Alfred Douglas, De Profundis - which he wrote following the trials -- or his interesting revisionary rereading of the mystery of Shakespeare's sonnets, The Portrait of W.H. In this class we will follow the course of Wilde's career as a writer, public figure, and private subject, reading most of his complete works alongside critical and historical essays and books about his work, trials, cultural milieu, and legacy. Assignments are yet to be determined but will in all likelihood include a presentation, a final project and some choice of writing options.

ENG 334-001 TR 9:30-10:45 am Doolen

SURVEY OF AMERICAN LITERATURE I: HISTORIES OF IMPERIALISM AND THE WRITING OF EARLY AMERICA
The writing of early American culture stretches over three hundred years, across the different civilizations of Native, European, and African peoples, spans two hemispheres growing closer with each decade, and speaks in the languages of Narragansatts and Pueblos as much as English Puritans and Spanish explorers. Because of this enormous terrain, our course will focus on the evolution of colonial American culture during the seventeenth and eighteenth centuries. First, we will immerse ourselves in the history of the North American colonies so that you can gain a deeper understanding of how forces such as imperialism and colonization contributed to the formation of US culture. This historical context will help you read the many types of "literature" composed during the period: the captivity narrative, the slave narrative, political essays, travel narratives, and public rituals like the "Boston Tea Party." We will conclude the course by examining how American writers, from the beginning, enter into a contest for the memory of the American Revolution.

The Small Print: the novel or poem does not define this period of British colonial and American national cultures. You will need to be open to an interdisciplinary study that may look, at times, more like a History or Sociology class rather than an English class. You should be prepared to do a lot of reading, take extensive reading notes, collaborate inside and outside of class, engage in several research assignments, and write a final paper.

ENG 335-001 MWF 11:00-11:50 am Trask

SURVEY OF AMERICAN LITERATURE II
This survey explores the ways in which a variety of writers, from the Civil-War era to the 1960s, have imagined an American literary tradition as both dynamic and diverse. While our focus will be on major novelists, poets, and playwrights, our approach to these authors will be influenced by a strong sense of the diverse historical contexts in which they are situated. Some of the crucial themes the class will pursue include: the incorporation of America; Reconstruction and its aftermath; the rise of realism, regionalism, and modernism as distinct literary genres; the emergence of the United States as a global power in the twentieth century; the birth of Civil Rights, feminism, and the New Social Movements. Though not definitive, the syllabus will in all likelihood look close to the following:

Walt Whitman, Leaves of Grass
Emily Dickinson, poems after 1865
Henry James, Daisy Miller
Mark Twain, Adventures of Huckleberry Finn
Sarah Orne Jewett, The Country of the Pointed Firs
Kate Chopin, The Awakening and Other Stories
W.E.B. Dubois, The Souls of Black Folk
L. Frank Baum, The Wizard of Oz
Edith Wharton, The House of Mirth
T.S. Eliot, “The Wasteland”
Robert Frost, North of Boston
Ernest Hemingway, selected stories
Nella Larsen, Passing
Willa Cather, The Professor’s House
William Faulkner, As I Lay Dying
Ralph Ellison, Invisible Man
Tennessee Williams, A Streetcar Named Desire
Vladimir Nabokov, Lolita
Allen Ginsberg, Howl
Sylvia Plath, Ariel
Thomas Pynchon, The Crying of Lot 49

ENG 336-001 MWF 11:00-11:50 am Roorda

STUDIES IN AN AMERICAN AUTHOR: THOREAU AND SUCCESSORS
Who was Thoreau, sure, but more: What is "Thoreau"? What does this name entitle and evoke? In what currents of myth and action does it circulate? What makes this name a calling card both for lone souls in backwoods cabins and for whole peoples resisting oppression, sitting down as a way to rise up? A study of this writer, compelling in his own right, opens into wider concerns: how individuals articulate with groups; how environmental understanding has developed; what it means for one person to take another as their model; what words can accomplish in the world. Exploring these, we'll read works of several sorts:

* plenty of writing by Thoreau, of course: Walden, "Civil Disobedience," chunks of the Journal, various shorter sketches and polemics;
* writing about Thoreau, not so much criticism as descriptions, accounts, recapitulations, even letters and addresses to the dead writer (what is it about this guy that makes people want to talk back?);
* works taking aspects of the writer's thought and methods as premises for social action (as with Gandhi and M. L. King) and speculation (as with B. F. Skinner);
* works taking aspects of the writer's life as models for imitation, in realms of self-reliance and simple living, nature feeling and experience, personal transformation, even parody and lampoon, not to mention literary influence;

Plus we'll cast about for signs of the iconic Thoreau, in book blurbs, pop imagery, bits of reproduced verbiage (like the good old "different drummer"), and typical Thoreauvian scripts: building a cabin in the woods, getting arrested on principle, following your own way no matter what anyone thinks, having birds land on your shoulder and converse with you (no wait, that's St. Francis-easy to mix them up!).

Finally, inevitably, we'll weigh the prospects of coming under such spells ourselves, of entering into (or resisting) the circles of influence, imitation, and action we explore. So it is that in writing for this class, students will be invited not just to write about what they read, but to write like it and to take after it, in ways we'll discuss.

ENG 336-002 TR 12:30-1:45 pm Clymer

STUDIES IN AN AMERICAN AUTHOR: HERMAN MELVILLE AND THE 1850S LITERARY SCENE
This course is an introduction to the major writings of Herman Melville, and, more generally, to the American literary scene of the 1850s. In Melville’s writings, we will find an author who went from being a wildly popular sex symbol (yes - you read that correctly) to a man whose work prompted the headline: “Herman Melville Crazy!” - all in less than a decade and all before he turned 35. Melville’s works reveal a startlingly original author whose style changed outrageously from book to book and who was also deeply engaged with all the major cultural and political issues of mid-nineteenth-century America, including U.S. imperialism, notions of sexuality, debates over slavery, women’s rights, technological change, and the unbridled growth of capitalism. To help us understand Melville’s literary style, his obsessions, and his place within the literature and history of the 1850s, we will turn to other writers from the decade - some who are famous and some who were previously well-known but are now relatively unknown.

Assignments will most likely include two short essays, a collaborative research experiment in 1850s literary culture, and a final exam.

Reading list: Herman Melville, Typee, Moby-Dick, Pierre, and “Benito Cereno.” Nathaniel Hawthorne, The House of the Seven Gables; Harriet Beecher Stowe, Uncle Tom’s Cabin; Martin Delany, Blake; or the Huts of America; and excerpts from E.D.E.N. Southworth, George Lippard, Edgar Allen Poe, Susan Warner.

400 Level

ENG 401-001 TR 12:30-1:45 pm Prats

SPECIAL TOPICS IN WRITING: WRITING ABOUT THE MOVIES
Short of teaching you how to assign to different movies the usual stars or balloons or popcorn boxes (after all, are only four stars really enough for your all-time favorite movie? how do you assign half a balloon? can butter be added to the popcorn boxes in order to signal a movie's unparalleled greatness?); short of sharing with you the fine art (based on the most carefully calibrated scales of critical justice) of holding your thumb up or down to signal your righteous enthusiasm or your utter contempt for a movie; short (in short) of encouraging you to trivialize the movies and film criticism, this course will attempt to introduce you to the different forms of writing about film, from brief descriptions and newspaper-style reviews of a previously unscreened movie to the exhaustively (well, almost so)-researched academic essay. Please note that in order for some of the writing assignments to work, it will be necessary for all of us to view several movies currently playing in local theaters, so be prepared to see them on their schedule and, sorry to say , at your expense. For other forms of film criticism I will assign movies to be screened at the Media Lab of the Young Library (those are free). In any case, please keep in mind that all movies will be screened outside of class time. I expect your writing to be at the level of an upper-division course in the kind of respectable English department that we are still trying to become. No remediation provided.

ENG 401-002 MWF 10:00-10:50 am Reece

SPECIAL TOPICS IN WRITING: THE PERSONAL ESSAY
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 405-001 TR 2:00-3:15 pm Eldred

EDITING ENGLISH PROSE
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 407-001 W 3:00-5:30 pm Vance

INTERMEDIATE WORKSHOP IN IMAGINATIVE WRITING: POETRY
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 407-002 T 3:30-6:00 pm Edwards

INTERMEDIATE WORKSHOP IN IMAGINATIVE WRITING: FICTION
This class in imaginative writing focuses on fiction, particularly the short story. Writing fiction is really a process of discovering the story you wish to tell and then working to give your narrative shape and coherence. Thus, in this class students will generate new work through exercises, freewriting, and journal assignments. Through on-going revision, these initial writings will then be shaped into stories. This class is a workshop, so student work will be an important text. Lively, thoughtful discussions will be essential, too. Because reading and writing are a symbiotic pair, each informing the other, students will also study published fiction, with the goal of learning to read like writers. That is, we will focus on elements such as dialogue, plot, character development, language, and imagery in published work, seeking to understand the authors' choices, and to unravel something of the process of creation. Students will deepen and trengthen their narratives by applying these discoveries to their own work. English 207 is a requirement for this class. Students with questions are welcome to contact Kim Edwards at edwards@uky.edu.

ENG 480G/481G-001 MWF 9:00-9:50 am Foreman

STUDIES IN FILM: SHAKESPEARE AND FILM
A study of a variety of Shakespeare's plays in both written and filmed forms. We will begin with the poetic, dramatic, and (to some extent) theatrical values of Shakespeare's texts and thus especially with Shakespearean language ("wordplay") and the way words reveal, and hide, and make, character. Then we will turn to movies made of or from the plays and to the elaborate and subtle visual "language" movies use to tell stories. Inevitably, and intentionally, we will speak of what the filmmakers have "done to Shakespeare," but it is important to recognize that we will see the films not only as versions of the plays but also as original and integral works. We will also attend to way the intelligence and imagination of audiences, including ourselves, engage the gaps in time and culture back to other periods, people, and places--to Shakespeare as the 16th century became the 17th, to people in several countries a hundred years ago trying to figure out how to "film Shakespeare," to Laurence Olivier in World War II Britain, to Akira Kurosawa in Japan in the 1950s (and again in the 1980s), to Al Pacino in 1990s' America, and so forth. The sweep we make from Shakespeare's Titus Andronicus (c. 1592) to Julie Taymor's Titus (2000) should tell us something about the world over the last four hundred years and about ways of seeing it.

Plays/films to be covered are likely to include A Midsummer Night's Dream (with films by Reinhardt/Dieterle and Hoffman), Much Ado about Nothing (with film by Branagh), Richard III (with films by Pacino and Loncraine), Henry IV Parts 1 and 2 (with film by Welles [Chimes at Midnight]), Henry V (with films by Olivier and Branagh), King Lear (with films by Brook and Kurosawa [Ran]), Macbeth (with films by Polanski and Kurosawa [Throne of Blood]), and The Tempest (with film by Greenaway [Prospero's Books]). Viewing of films outside of class will be required.

NOTE: ENG 480G-001 and ENG 481G-001 are the same course this semester. The two sections will meet at the same time and place with the same instructor and syllabus. Topics for papers and exams will vary somewhat to accommodate primary focus on play text or film, according to student interest. Students may register for whichever course ("film" or "literature") best suits their curricular plans.

ENG 481G-002 TR 12:30-1:45 Uebel

STUDIES IN BRITISH LITERATURE: CHAUCER'S CANTERBURY TALES
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 481G-401 W 6:00-8:30 pm Meckier

STUDIES IN BRITISH LITERATURE: THE MODERN BRITISH NOVEL
The Modern British Novel (from World War One to Brave New World): a close examination of several modern British novels with a view to defining Modernism. Texts will be chosen from the following: West, Return of the Solider, Huxley, Crome Yellow, Joyce, Ulysses, Forster, Passage to India, Woolf, Mrs. Dalloway, Woolf, To the Lighthouse, Huxley, Point Counter Point, Hall, The Well of Loneliness, Lawrence, Lady Chatterly's Lover, Adlington, Death of a Hero, Waugh, Vile Bodies, Huxley, Brave New World. Mid-term, final, oral reports, mandatory attendance.

ENG 483G-001 TR 12:30-1:45 pm Pierce

STUDIES IN AFRICAN-AMERICAN OR DIASPORIC LITERATURE: AFRICAN-AMERICAN AUTOBIOGRAPHY
This course will examine African-American autobiography, from the earliest personal narratives of newly arrived African slaves to the extended works of contemporary African-American authors. We will read works of various writers as they attempt to "give testimony" to the multiplicity of the African-American experience. In addition, we will consider the following questions: Why is autobiographical writing so pervasive in African-American literature? What literary, social, cultural, religious, and political movements have had an influence on the genre of African-American autobiography? What insights can we develop about the entire cannon of African-American literature based on reading autobiographies? Are there, and should there be, rigid distinctions between academic and personal writing, or personal writing and political writing?

ENG 487G-001 TR 11:00-12:15 pm Blum

CULTURAL STUDIES: PSYCHOANALYSIS AND CULTURE
What can psychoanalytic perspectives contribute to our understanding of cultural phenomena—practices, ideals, the contemporary stories of pleasure and happiness that “work” for us? This course will focus on certain key themes in psychoanalytic theory—the child, gender difference, narcissism and borderline disturbances and will go on to consider in some more depth psychoanalytic accounts of body image and beauty culture. The course will introduce students in depth to psychoanalytic principles (which will involve weekly two-page response papers). There will also be a final take-home examination.

500 Level

ENG 507-001 W 3:00-5:30 pm Finney

ADVANCED WORKSHOP IN IMAGINATIVE WRITING: POETRY
In this era of the quick fix, of cloning, of the mundane million-dollar light show pouring forth from the streamlined box in our living room - there waits a simmering precious poetry circle dedicated to deep listening and original minds. To enter this (non-beginner) gate one must be knowledgeable and aware of the basics; metaphor, simile, hyperbole, alliteration, deep laughter, crisp verbs, truth. Once inside you must be willing to believe that your distinctive voice is a treasure and your one and only imagination is your birthright and therefore yours to not neglect but to explore. This course will ask you to consider the intimacy of one particular word to another particular word. You will dine on Oxford dictionaries and the exquisite Rodale's "The Synonym Finder," as well as the delicious published poems of treasured poets from around the world. You will be asked to think of the writing of your own poems as the mixing of a potion. You will be encouraged to explore and excavate as you whittle out your personal journey into life's contradictions, sorrows, and jubilees. Your peripheral sight will be exercised regularly. You will be free and encouraged to warble your (non-beginner) poetic voice toward the articulation of astounding things that are always found in that luminous fertile land between heart, head and hand. Bring your desire. Any and all texts will be announced on the first day of class, a mandatory attendance day.

ENG 507-002 T 3:30-6:00 pm Finney

ADVANCED WORKSHOP IN IMAGINATIVE WRITING: FICTION
The artist makes it possible for us to believe in the world we live in and the artist-fiction writer makes it possible to create new worlds out of our real lives and our imagination. This is an advanced writing course in how to imagine, sketch, and craft new worlds using short stories and other old-world as well as avant-garde forms of fictive expression. Using eloquent contemporary fiction as mirror and lamppost we embark. Using the traditional elements of fiction; ideas, silence, characters, setting, verbs, dialogue, dramatic events, adjectives, honesty, elbow grease and courage, we deep-sea dive into narrative waters. This is not a course in how to write a story but rather a course in how to write a story better. It is necessary to come to this writing circle with more than a beginner's confidence and more than beginning writing skills. The student writer should be willing to be conscious of the way they think and the way those thoughts then become the architecture of the work in progress. 507 Fiction is concerned with the crafting of the many worlds of fiction but it is equally concerned with the attitude of the creator of those worlds, their humanism and humanity. This is not a course concerned with slick cerebral writing. This is a course for those hungry growing writers partial to the idea of contributing something to the precious language of heartfelt human experience. Bring your desire. First class mandatory; text announced.

ENG 507-003 R 3:30-6:00 pm Edwards

ADVANCED WORKSHOP IN IMAGINATIVE WRITING: FICTION
This is an advanced undergraduate/graduate level course designed to explore in great depth the writing of fiction, especially the short story. Students will gain an extensive understanding of narrative form, and will examine many aspects of the story, including characterization, narrative motion, and the use of language and imagery. Students will look at both traditional and experimental forms, will explore these forms in their own writing, and will participate fully in a supportive workshop setting, giving and receiving thoughtful criticism, which will be used as a basis for revision. This is a writing class, and that will be our focus, but since reading and writing are a symbiotic pair, each essential to the other, we will also take close, analytical look at published work, seeking to understand the forms and unravel the process of creation. The class will be organized as a writing workshop, in which you will have a chance to present your own work, and also the opportunity to critique the work of your peers. You will be expected not only to take your own work seriously, but also to give fair, constructive and helpful feedback to the other students in the class.

ENG/EDC/LIN 513-401 MW 5:30-6:45 pm Clayton

TEACHING ENGLISH AS A SECOND LANGUAGE: SECOND LANGUAGE ACQUISITION
This course provides an introduction to the study of second language acquisition (SLA), in particular the acquisition of English as a Second Language (ESL). By examining research and theory in SLA/ESL, we will suggest some answers to the questions: How do people learn languages, in particular English? What are the implications of the spread of English throughout the world? Prereq: ENG/LIN 211 or ENG 414G or ANT 215 or the equivalent; or consent of the instructor. (Same as EDC 513).

ENG 515-001 TR 8:00-9:15 am Bosch

PHONOLOGICAL ANALYSIS
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 570-001/WS 595-001 Bordo

SELECTED TOPICS FOR ADVANCED STUDY IN LITERATURE:
"Girl Culture" 2004: Is Ophelia Drowning or Surfing the Third Wave?"
Have "girls" as we've known them disappeared? Is today's pre-teen and teenage girl a feminist dream realized, a throwback to old notions of femininity, or a radically new creature that's different from anything that's come before? Using contemporary movies (e.g. "Blue Crush,""Lost and Delirious,""Bring It On,") magazines and other popular cultural materials, fiction (historical and contemporary) for girls, about girls, and by girls, selections from the classic studies of Gilligan and Pipher as well as more recent works such as Rachel Simmons' Odd Girl Out, Joan Brumberg's The Body Project and various "third-wave" perspectives, we will attempt to assess the situation of growing up female today. Some selection of the following topics will be considered: food, weight and body issues, gender roles and sexual identities, the cultural sexualization of girls' bodies, the new athleticism, "girl power," and the so-called "hidden culture of aggression" among girls. Special attention will be paid to racial and class differences that are often obscured in both scholarly and popular discussions of girls and "girl culture."

600 Level

ENG 600-001 MWF 1:00-1:50 pm Allison

BIBLIOGRAPHY AND METHODS OF RESEARCH
There are three parts to this course: (1) An introduction to traditional and electronic research tools available in a modern research library, with special sessions on bibliographies, reference guides, academic journals and online databases. This section will involve a visit to Special Collections, to consider the role of archives in modern research. This course coincides with a Special Collections exhibition on English literature of the 1890s, and a written assignment will revolve around this. (2) An overview of the emerging discipline of 'book history,' including printing and publishing history, the early modern transition from manuscript to print, and the postmodern rise of electronic publishing. On a related note, we shall think about book design and examine some notable collaborations between authors and designers. (3) A potted history of 20th century editorial theory, from W.W. Greg to Jerome McGann, including a number of famous editorial case studies. Required: two papers, mid-term exam, weekly assignments, quizzes.

ENG 605-001 TR 2:00-3:15 pm Eldred

EDITING
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 609-401 W 6:00-8:30 pm Oaks

COMPOSITION FOR TEACHERS
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG/LIN 617-001 TR 11:00-12:15 pm Bosch

STUDIES IN LINGUISTICS: INTRODUCTON TO LINGUISTIC PRACTICE AND THEORY
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 630-001 MWF 10:00-10:50 am Zunshine

STUDIES IN ENGLISH LITERATURE: 1660-1720
Focusing on British literature of the Restoration and early Eighteenth century, this course has a threefold goal: to provide students with a solid working knowledge of literature and culture of the period; to introduce them to key critical discourses on the subject; and to help them formulate their own pedagogical strategies were they to teach an undergraduate course featuring Restoration and early Augustan writers. Topics include, but are not limited to: the private and the public, with an emphasis on the concept of the "bourgious public sphere" and its recent feminist revisions; theater and politics; construction of gendered authorship and spectatorship; creative forms of cultural censorship; genre experimentation; paradigms and stakes in contemporary cultural studies of the period. Primary texts (tentative list) by Aphra Behn, William Wycherley, Eliza Haywood, John Dryden, Earl of Rochester, Joseph Addison, Richard Steele, Alexander Pope, Jonathan Swift. Critical texs (tentative list) by Ros Ballaster, Toni Bowers, Margaret Ferguson, Jurgen Habermas, Robert Hume, Susan Staves, and William Warner.

ENG 635-001 R 3:30-6:00 pm Fulbrook

STUDIES IN ROMANTICISM: THE ROMANTIC IMAGINATION
From the sublime heights and depths of the Gothic novel to the revolutionary dreams of Percy Bysshe Shelley and Mary Wollstonecraft, from Coleridge's "Kubla Khan" to Mary Shelley's Frankenstein, from Goethe's Faust to Lord George Byron's Manfred, in this class we will take an introductory journey across the critical and literary terrains that constitute "Romanticism," thinking all the while about the vexed concept of the imagination for the Romantics - about the work it is call upon to do, about its dangers and glories, about where the origin of the imagination and of relatedly poetry or fiction might be said to lie in differing but related genres, and about how both the writers of this period and the twentieth-century literary critics define and redefine this era and its influence. While much of the class will be designed as a general introduction to this period of literature and culture, particular focus will be placed on questions about subjectivity, gender, sexuality, nature, friendship and literary influence. What models of the self and of the imaginative or poetic self do these authors create? How do they figure the relationship between gender and sexual transgression and political revolution? Why is the concept of friendship so significant in many of their works and how is it defined? How do they think about nature and its relationship to the origins of art, the sublime, and the beautiful? What is the influence of Romanticism on later periods?: These are just a few questions that will be asked throughout the class. Assignments will include an annotated bibliography, a presentation and a final paper - a draft of which will be required in advance - or project.

ENG 651-001 T 3:30-6:00 pm Doolen

STUDIES IN AMERICAN LITERATURE BEFORE 1860:
HISTORIES OF IMPERIALISM AND THE WRITING OF EARLY AMERICA
Changed to ENG 750-001. See below.

ENG 652-001 TR 2:00-3:15 pm Clymer

STUDIES IN AMERICAN LITERATURE 1860-1900:
PROPERTY AND LIBERTY IN THE 19TH-CENTURY U.S.
This course examines the strange juxtaposition of “property” and “liberty” in the American 19th century. Even as these terms sit side-by-side in the Bill of Rights and were utterly interdependent in the U.S. founders’ worldview, a simultaneous commitment to protecting and advancing each concept produced tremendous conflicts throughout the nineteenth century. Slavery, of course, is the most famous example, but hardly the only site of tension between property and liberty: the terms and their implications were also pivotal in discussions of “manifest destiny,” the growth of a capitalist market economy, and violent post-Civil War labor disputes. In short, liberty and property entailed complex and intertwined questions of rights, laws, notions of personhood, definitions of whiteness, gender politics, and the very structure of America’s economy - all of which we will explore in this class..

Our readings will consist primarily of novels, theoretical work on property relations, and a healthy dose of literary criticism and historical scholarship. Grade will be based on an annotated bibliography, a seminar paper, and class participation.

Reading list will most likely include Charles Brockden Brown, Edgar Huntly; Nathaniel Hawthorne, The House of the Seven Gables; Harriet Beecher Stowe, Uncle Tom's Cabin; Harriet Jacobs, Incidents in the Life of a Slave Girl; Martin Delany, Blake; or, the Huts of America; María Amparo Ruiz de Burton, The Squatter and the Don; Ignatius Donnelly, Caeser's Column; William Dean Howells, An Imperative Duty; Kate Chopin, The Awakening.

ENG 682-401 T 6:00-8:30 pm Dathorne

STUDIES IN FICTION: COMPARATIVE LITERATURE
Description not available at time of publication. Please contact the instructor or check back here for an update.

ENG 691-001 TBA Eldred

READINGS IN RHETORIC: CONSULTINGS
Description not available at time of publication. Please contact the instructor or check back here for an update.

700 Level

ENG 700-001 TR 11:00-12:15 pm Rosenman

TUTORIAL PHD CANDIDATES
This course is designed to prepare advanced doctoral students for qualifying examinations. Much of the work will be done individually and in small groups, tailored to each student's place in the process. We will work on constructing the lists and rationales, develop strategies for note-taking and studying, and take practice exams. Students preparing for the oral examination will work on drafting the prospectus. You must have completed your course work to take this class. Any exceptions will have to be cleared by the instructor.

ENG 722-001 M 2:00-4:30 pm Lewin

JOHN MILTON AND REVOLUTIONARY POETRY IN ENGLAND AND AMERICA
"Milton! thou shouldst be living at this hour/ England hath need of thee," exclaimed Wordsworth in England, 1802. This course will investigate the work of Milton and that of later poetic visionaries who found a kindred spirit in Milton, responding to his political urgency and his aesthetic qualities by adapting his prophetic voice for their own purposes, often achieving provocative effects. At the center of the course is the attempt to discover what makes Milton's voice a profound and decisive, if demanding, influence on many writers in England and America. After spending three or so weeks on Paradise Lost, we will read selections from the work of most if not all of the following: Lady Mary Chudleigh, Mary Astell, Christopher Smart, Wordsworth, Blake, Keats, the Shelleys, John Boyd, Emerson, Longfellow, Melville, Wallace Stevens, Geoffrey Hill, and Philip Pullman. One oral presentation and a long final paper are required.

ENG 740-401 W 6:00-8:30 pm Meckier

SEMINAR IN 20TH CENTURY BRITISH LITERATURE: ALDOUS HUXLEY
From poet to mystic. A comprehensive exploration of Huxley's growth and development from the early poetry to the final utopia. Oral reports. Seminar paper.

ENG 750-001 T 0330PM-0600PM FB 306C Doolen

SEMINAR IN AMERICAN LITERATURE: HISTORIES OF IMPERIALISM AND THE WRITING OF EARLY AMERICA

NB: Formerly Nelson's DEMOCRACY'S FRONTIERS: REPRESENTING DEMOCRACY IN THE EARLY U.S.

The writing of early American culture stretches over three hundred years, across the different civilizations of Native, European, and African peoples, spans two hemispheres growing closer with each decade, and speaks in the languages of Narragansatts and Pueblos as much as English Puritans and Spanish explorers. Because of this enormous terrain, our course will focus on the evolution of colonial American culture during the seventeenth and eighteenth centuries. First, we will immerse ourselves in the history of the North American colonies so that you can gain a deeper understanding of how forces such as imperialism and colonization contributed to the formation of US culture. This historical context will help you read the many types of "literature" composed during the period: the captivity narrative, the slave narrative, political essays, travel narratives, and public rituals like the "Boston Tea Party." We will conclude the course by examining how American writers, from the beginning, enter into a contest for the memory of the American Revolution.

The Small Print: the novel or poem does not define this period of British colonial and American national cultures. You will need to be open to theoretical, interdisciplinary, American Studies-style analysis. You should be prepared to do a lot of reading, take extensive reading notes, collaborate inside and outside of class, engage in several research assignments, and write a seminar paper.

ENG 753-401 W 3:00-5:30 pm Trask

SEMINAR IN AMERICAN LITERATURE SINCE 1900: AMERICAN LITERATURE AND COLD WAR CULTURE
This class will examine poets, novelists, and playwrights who came of age during the Cold War. We shall look at certain aesthetic trends in this generation of writers (the advent of post-modernism, the emergence of confessional poetry, the rise of an academically situated literary avant-garde). We shall also pay close attention to the cultural and political contexts of this era--taking special note of anti-communism and the nuclear threat; the anxieties spawned by an encroaching mass culture; the dawn of modern civil rights; and the social revolutions of the 1960s. In addition to readings in poems and novels, the syllabus will feature various critical, philosophical, and other writings that represent some of the period's most crucial and influential ideas (Erving Goffman, Hannah Arendt, David Reisman, Betty Friedan, Herbert Marcuse, Herman Kahn, Erich Fromm). Authors to be considered include Robert Lowell, Sylvia Plath, Leroi Jones, Frank O'Hara, Allen Ginsberg, Adrienne Rich, Lillian Hellman, Audre Lorde, Elizabeth Bishop, William S. Burroughs, Norman Mailer, Ralph Ellison, James Baldwin, Paul Bowles, Philip Roth, Tennessee Williams, Thomas Pynchon, Grace Metallious, Arthur Miller, Toni Morrison, Patricia Highsmith, Vladimir Nabokov, and Mary McCarthy.

ENG 781-001 TR 9:30-10:45 am Prats

SEMINAR IN FILM: RESEARCH IN AMERICAN AND FOREIGN FILM
In negotiations with many of the rebellious graduate students who vociferously clamored for something like this course (though hardly for the instructor), it was unanimously agreed that each had different ideas about what all should see and discuss and write about. Whereupon the instructor, in the true Cuban-American spirit of compromise and accommodation, cleverly came up with the above title for the course-a title that no doubt exactly expresses the precision of focus, the very essence itself of academic rigor, that students have come to expect from Prats courses. The prospective students (George W. had insisted on "presumptive students"), individually and in the aggregate, have suggested a most compelling mix of American and foreign movies, a mix to which the instructor will add some titles of his own, so that we will screen some two movies per week, both in the interest of a sufficiently broad foundation in film history and of providing opportunities for the development of research interests. (There, now, doesn't that make it seem professional and official?) All movies will be screened in the Media Lab of the Young Library. Research paper, much discussion, conferences over coffee at Ovid's.