Course
Descriptions
Summer 2006
First Summer (4-Week) Session
2006:
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.
ENG/LIN
212-010 MTWR
1200PM-0230PM Bosch
INTRODUCTION TO LINGUISTICS II
ENG 234-410 MTR
530PM-0735PM Purdue
INTRODUCTION TO WOMEN’S STUDIES
Same as WS 300-410
ENG/AAS
264-010 MTWR
0200PM-0430PM Dathorne
MAJOR BLACK WRITERS
ENG
331-010 MTWR
1000AM-1230PM Prats,
J
SURVEY OF BRITISH LITERATURE I
ENG 395-010 To be arranged individually Rosenman
INDEPENDENT
WORK
LIN 395-010 To be arranged individually
Bosch
INDEPENDENT
WORK
ENG
480G-010 MTWR
1000AM-1230PM Prats,
A
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.
TEXTS: The
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
We’ll
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.
ENG
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.
ENG 395-020
To be arranged individually Rosenman
INDEPENDENT
WORK
LIN 395-020
To be arranged individually Bosch
INDEPENDENT
WORK
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
ENG
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.
ENG
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.