First Summer (4-Week) Session
ENG/LIN 211-010 MTWR 0100PM-0330PM 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 ‘happity’ out of ‘happy + 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.
INTRODUCTION TO LINGUISTICS II
ENG 234-410 MTR 530PM-0735PM Purdue
INTRODUCTION TO WOMEN’S STUDIES
Same as WS 300-410
MAJOR BLACK WRITERS
SURVEY OF BRITISH LITERATURE I
ENG 395-010 To be arranged individually Rosenman
LIN 395-010 To be arranged individually
STUDIES IN FILM:
Second Summer (8-Week) Session 2006:
(Note: Some courses meet only the first or second four weeks of the session.)
ENG/LIN 210-020 MTR 1130AM-0110PM 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.
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: Four exams based on the assigned readings and selected videos; daily quizlets on the homework readings. No cumulative mid-term or final.
2d edition, Cambridge University Press, 2003.
Language Myths. (eds) Laurie Bauer and Peter Trudgill, Penguin, 1998.
The Story of English. Robert McCrum, 3d edition. Penguin Books, 2002.
NOTES: 1) Students in the
requirement (under Option B) by taking ENG/LIN 210 and ENG/LIN 211 in any order.
2) Attendance is mandatory from the first day of class for all students
including those on the waitlist.
ENG 230-020 MTWRF 0910AM-1110AM Carter
Note: Meets June 8 – July 6 only.
INTRODUCTION TO LITERATURE: BANNED BOOKS
ENG 231-420 TR 0600PM-0830PM Staff
LITERATURE AND GENRE
ENG 330-020 MTWR 1130AM-0200PM Bebensee
Note: Meets June 8 – July 6 only.
TEXT & CONTEXT: THE BEATS AND OTHER
REBEL ANGELS: WRITINGS OF THE
consider the sometimes spontaneous, often messy, and almost always
controversial writing of the bohemian libertines of the beat generation in its
own social and historical context and as the groundwork for the social/cultural
revolutions of the 1960s.
335-020 MTWRF 0910AM-1110AM Marksbury
Note: Meets July 7 – August 3 only
SURVEY OF AMERICAN LITERATURE II
A survey of American literature running from the Civil War (we'll start with Whitman) to the near-present (we'll probably finish with the David Mamet play Glengarry Glen Ross). The emphasis will be on major authors and fiction, with forays into Southern and African American writing. Texts include The Norton Anthology and Don DeLillo's White Noise. Close readings and connections between the texts across time will be stressed as we try to balance forms as various as the novel, the short story, the poem, the essay--and possibly the film. Expect plentiful reading, heated discussion, and three take-home exams.
To be arranged individually Rosenman
To be arranged individually Bosch
ENG 401-220 Off Campus Roorda
SPECIAL TOPICS IN WRITING: PROJECTS IN ENVIRONMENTAL WRITING
Visit this web site for more information: http://www.uky.edu/AS/English/courses/sewp/
ENG 481G-020 MTWRF 0910AM-1120AM Foreman
Note: Course meets June 8 – July 6 only.
STUDIES IN BRITISH
LITERATURE: SHAKESPEARE ALOUD
482G-021 MTWR 1130AM-0200PM Viola
Note: Course meets July 7-August 3 only.
STUDIES IN AMERICAN LITERATURE: HISTORY OF SHORT STORY
The aim of this course is to have a thorough understanding of the American short story genre by tracing the short story’s roots to a time prior to the nineteenth century (the century when the genre became popular) and by looking closely at earlier and later examples of short stories up until the present. We will survey several authors from varied backgrounds and pay close attention to literary periods and aesthetic movements, which have helped shape the short story genre. Time will also be spent focusing on key innovators of the short story such as Poe, Hawthorne, Chekov, Hemingway, O’Connor, Carver, and Robison.
572-020 MTWRF 0910AM-1110AM Eldred
Note: Course meets July 7-August 3 only.
STUDIES IN ENGLISH FOR TEACHERS: CREATIVE NONFICTION
For several decades now, Writing Projects have enriched composition instruction because of their simple yet sure driving premise, namely that teachers of writing should write themselves. "Creative nonfiction" is a new word on the writing scene-the genre has a growing presence in MFA programs-but it has long existed as the "essay" in the field of composition and fits easily within the structure of the Writing Projects. As teachers of English composition and literature, we are-or should be-writers of creative nonfiction. Creative nonfiction might productively describe some combination of the various genres that are now taught separately-the personal essay, the research paper, the analytical paper. The form moves us past debates about "research writing" vs. "personal writing," creating a vibrant new form that encourages students to bring concrete life and abstract thought together. Likewise, creative nonfiction has the potential to link our personal and professional lives because it encourages the kind of hybrids that can fuse the personal with the academic. It encourages us to work from and through significant composition issues: How do we compose ourselves? others around us? How do we represent all these individual lives without losing sight of a larger world of people, ideas, places, and histories? Essays that address such questions reflect "the humble prose of living" but also answer the demands of art. They build on one of the most intriguing promises of the essay form, "the possibility of realizing," as Thomas Recchio (1994) puts it, "the potential interanimation of life and language, of one's person and one's work" (224).
This class asks students to review the recent history of creative nonfiction, with attention to issues as they've unfolded in the subfields of creative writing, journalism, and composition. Those seeking undergraduate credit should expect to read and write creative nonfiction. Those seeking graduate credit should expect additional work in the form of leading one writing workshop and writing one hybrid critical/creative piece.