Course Descriptions: Fall 2005

Advising

The undergraduate major program in English requires students to take ENG 330 (Text & Context), one Language module course (210, 211 or 310), four 300-level Literature modules courses (two in British Literature, two in American Literature), and four additional courses from the Area modules, at least two of which must be drawn from one Area module. In addition, all majors must complete a one-hour capstone course, taken concurrently with an Area module course. The Area modules are: Literature, Film & Media, Writing, Imaginative Writing, Language Study, Theory, Education. A complete description of the English major is available in the English Advising Office (1227 Patterson Office Tower).

The English Advising Office in Patterson Office Tower (rooms 1225, 1227, and 1229) is a center for information and guidance on undergraduate degree programs and post-graduation planning. The Advising Office serves not only English majors, but also those students working on a minor in English, those seeking Teacher Certification in English, those working on Topical majors in which English is prominent, and students from any area of the University seeking information or advice on English Department courses. (Inquiries about freshmen writing courses should be directed to the Writing Program Office, 1221 P.O.T.)

The English Advising Office will be open Monday - Friday, from 8:30 a.m. - 12:00 p.m. and 1:00 - 4:30 p.m. throughout the Priority Registration period (March 31 - April 23). Because of the demands made upon the office during this period, appointments are required. Appointments with the advisors - Meg Marquis, Julie Walter, and Christine Luft - can be made by contacting staff associate Andy Johnson in 1227 P.O.T. or by phone: (859) 257-3763. Students are strongly encouraged to see the advisors as early as possible, preferably a week before their registration time. Please note that students in Arts and Sciences will not be able to register without having seen an advisor and having the advisor hold lifted.

Note on registration for writing courses (ENG 207, 305, 407, 507, and 607): Students wishing to take these courses should advance register for them and attend the first class meetings. These students should be aware, however, that (as stated in the UK Catalog) ultimate enrollment in the courses will be by consent of instructor, given after the first class meeting (thus, registration for the course does not guarantee a place on the final roll).

ENG 207-001         T 0330PM-0600PM        Norman
BEG WKSP IMAG WRITING:    FICTION

ENG 207-002         M 0300PM-0530PM        Viola
BEG WKSP IMAG WRITING: CONTEMPORARY LITERATURE    FICTION

The aim of this course is to learn the craft of writing fiction by engaging in activities such as reading, writing, revising, and critically analyzing. The main genre of this course is literature, with an emphasis towards contemporary fiction. Ideas, stories, etc. influenced by most popular cinema and television is not encouraged. Remember that essentially everything has been done before; there aren’t really any “new” ideas out there. So a focus of this course will be to encourage students to write “what’s been done before” in a different and fresh manner and style.

ENG 207-003         W 0300PM-0530PM        Howell
BEG WKSP IMAG WRITING:    POETRY

ENG 207-004         R 0330PM-0600PM       
BEG WKSP IMAG WRITING:    FICTION

ENG 210-001         MW 0400PM-0515PM        O'Hara
HIS OF ENGLISH LANGUAGE    

ENG 210-401         MW 0600PM-0715PM        O'Hara
HIS OF ENGLISH LANGUAGE    

ENG 210-402         TR 0600PM-0715PM        O'Hara
HIS OF ENGLISH LANGUAGE    

ENG 211-001         TR 0330PM-0445PM        Guindon
INTRO TO LINGUISTICS I    

ENG/LIN 211: Introduction to Linguistics, Part One

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 211-002

ENG 211-002         TR 0500PM-0615PM        Guindon
INTRO TO LINGUISTICS I    

ENG/LIN 211: Introduction to Linguistics, Part One

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 211-401         MW 0530PM-0645PM        Guindon
INTRO TO LINGUISTICS I    

ENG/LIN 211: Introduction to Linguistics, Part One

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 212-001         TR 1100AM-1215PM        Bosch
INTRO TO LINGUISTICS II    

This is the second semester of a two-semester sequence introducing the study of Linguistics. Linguistics is the scientific study of human language as a system. Everyone knows a language--but what does it mean to know a language? How are languages different from one another? How are they similar? This course will introduce students to the social aspects of the study of linguistics, focusing on the issues and problems of interest within each of these fields; topics include semantics, first and second language acquisition, sociolinguistics, brain and language, psycholinguistics, and animal communication. There will be weekly homework assignments and quizzes, and three exams (the final is not cumulative).

Text: Contemporary Linguistics, 5th edition. Edited by O’Grady, Archibald, Aronoff, and Rees-Miller. (Please note: the workbook is NOT required for this course.)
ENG 230-001

ENG 230-001         MWF 0900AM-0950AM        Towles
INTRO TO LIT     Crisis of Faith in 20th Century America

This class will investigate how faith impacts issues of identity, security and even belief itself. In a time when religious and secular faith are often discussed in conjunction with extremism, fear, and political gain, this class will focus on how faith transforms and reveals extremism, fear, and political gain.

ENG 230-002         MWF 1000AM-1050AM        Freeman
INTRO TO LIT     The Supernatural in Nineteenth-Century British Poetry and Prose

Ghosts haunt attics, fairies inhabit forests, and vampires roam castles in nineteenth-century poetry and prose. This period in British fiction maintains many characteristics of the gothic period, specifically the presence of the supernatural. Yet, while the supernatural abound, British realism’s main goal is to reflect authenticity in its portrayal of everyday life, paying careful attention to the details and complexities of social life. Why would these realistic writers include elements of the supernatural in their otherwise faithful representations of nineteenth-century life? Is it to provide realistic literature with an element of escapism? Or, is there something else going on? We will explore this question and others pertaining to British realism beginning with Romantic poetry: Wordsworth’s Lyrical Ballads, Coleridge’s “Christabel,” Keats’s “Lamia,” and Rossetti’s “Goblin Market.” Then we will turn to the following Victorian novels: Emily Bronte’s Wuthering Heights (1847), Charlotte Bronte’s Jane Eyre (1847), Wilkie Collins’s Woman in White (1860), and Thomas Hardy’s Return of the Native (1878).

ENG 230-003         MWF 1100AM-1150AM        Carter
INTRO TO LIT     Banned Books: From Huckleberry to Holden to Harry

Why are school districts and some parents afraid of Harry Potter, Huckleberry Finn or others? Why are certain works and their characters’ words either avoided or expurgated to gain admittance into the corridors of high schools? This course will read these works and examine the historical and cultural reasons for the books’ being challenged in the past or today. Poems such as Whitman’s “Leaves of Grass” and Ginsberg’s “Howl” have rallied opponents to suppress their inclusion in anthologies. We’ll try to redeem or reject these texts through close readings and research into the complaints about the books and into the themes of the texts. Coursework will include readings and two 5-7 pages essays as well as shorter writing assignments.

ENG 230-004         TR 0930AM-1045AM        Bebensee
INTRO TO LIT     Postmodern American Writing

A survey of American fiction and poetry after 1945: John Ashbery, Paul Auster, Richard Brautigan, Charles Bukowski, Raymond Carver, Lucille Clifton, Don Delillo, Allen Ginsberg, Jorie Graham, Jack Kerouac, Stephanie Strickland, Kurt Vonnegut, others. Two essays, midterm, oral final.

ENG 230-005         TR 0200PM-0315PM        Simon
INTRO TO LIT    Facing West: Mythology and Fiction of the American Frontier

This course will explore the literature of the American frontier beginning with Mary Rowlandson’s Narrative and ending with Western films. The topics we will explore are the significance of the American frontier, the development of frontier mythology, and the importance of the frontier to American identity. Not only will we look at the stereotypical depictions, but we will examine how the vision of the West changes throughout literature as well as adjusts to industrialization, urbanization, and the close of the frontier. We will also explore racial and gender issues in these frontier texts. Some questions we will explore: How did the frontier help shape our national identity? What stereotypes from frontier/Western mythology do we still use to define our Americanness? How has the mythology of the frontier changed as America has moved from an agrarian nation to an industrial nation?


Texts will include:


Rowlandson, Mary. The Sovereignty and Goodness of God. Boston: Bedford/St. Martin’s, 1997.


Child, Lydia Maria. Hobomok and Other Writings on Indians. Piscataway, NJ: Rutgers UP, 1986.


Brown, Bill ed. Reading the West: An Anthology of Dime Westerns. Boston: Bedford/St. Martin’s,1997.


Grey, Zane. Riders of the Purple Sage. Oxford: Oxford University Press, 1998.


Cather, Willa. O Pioneers! New York: Penguin, 1994.


There will also be a course packet of short stories and historical/critical essays. We will be watching a few films: (possibly) Stagecoach, Fort Apache, The Searchers, The Magnificant Seven, Unforgiven, Dances with Wolves, Hidalgo, and Into the West [Into the West is a miniseries that will be on TNT starting June 10th and running for 6 weeks.]

ENG 230-006         TR 0800AM-0915AM        MacDonald
INTRO TO LIT    

ENG 230-007         TR 1000AM-1050AM        Hayes
INTRO TO LIT    MEDIEVAL AND MODERN GRAIL LEGENDS

In this course, we will study a variety of medieval and contemporary Grail legends. You will perhaps be surprised to see how these renditions of the Grail legend, while retaining certain basic elements, differ quite dramatically from each other. One of our chief concerns will be to explain the significance behind the legend’s adaptations over the centuries. The literary and non-literary texts we’ll be covering will include excerpts from the ancient Welsh mythological cycle The Mabinogion, Chretien de Troyes’s Perceval (late twelfth century), the early thirteenth-century Quest for the Holy Grail, Bernard Malamud’s The Natural, excerpts from Marion Zimmer Bradley’s The Mists of Avalon, Dan Brown’s The Da Vinci Code, and Monty Python and the Holy Grail.
This course will focus heavily on critical reading and the writing process. Evaluation for the course will be based on a series of short (ca. 1-page) web responses, two critical reading exercises (ca. 5 pages), and a final paper (ca. 6-7).

ENG 230-008         TR 0200PM-0315PM        Lewin
INTRO TO LIT    

ENG 230-401         MW 0600PM-0715PM       
INTRO TO LIT    

ENG 231-001         MWF 0100PM-0150PM        Boss
INTRODUCTION TO LITERATURE:    

New topic will appear here in a few days.

ENG 231-401         TR 0600PM-0715PM        Salmons
INTRO TO LITERATURE     Introduction to Southern Literature

What makes a Southern writer? What kinds of stories do Southern writers tell? Where do these stories come from? Several key central themes emerge from a closer study of Southern literature, including a sense of regionalism, a community-based culture which centers on the presence of the family, and a strong oral history tradition. Relying on texts which represent these themes, this course will undertake to answer the above questions. Using a focus on Southern authors and Southern themes, it will also serve as an introduction to methods of literary study.



The characteristics present in literature by Southern authors reflect a distinct Southern consciousness that differs from the American consciousness as a whole. American society values individual effort, patriotism, and family values; the South responds to these ideas in its own way. The economic pressures placed on the South (both the Deep South and the Appalachian South) because of its history of agrarian culture and poverty created a reliance on family and neighbors that remains prevalent in the region. When outsiders and industrialization began to penetrate these regions this wariness experienced a major boost. During the time of “The New South,” Northern capital was infused into the South to develop a more diverse industrialized economy. However, this was problematic because it created a colonial economy within the South; all of the money earned in these new industries flowed back to the North, leaving the South with low paying dead-end jobs and no increase in overall gains of capital. These themes continue into present-day Southern literature.




Works under discussion will include:
Frederick Douglass, Narrative of the Life of Frederick Douglass ISBN: 0312257376
Gurney Norman, Kinfolks ISBN: 0917788109
Zora Neale Hurston, Their Eyes Were Watching God ISBN: 0060931418
Susie Mee, editor, Downhome: An Anthology of Southern Women Writers ISBN: 0156001217
William Faulkner, As I Lay Dying ISBN: 067973225X
Lee Smith, Saving Grace ISBN: 0345403339

Please obtain the editions (ISBNs) listed. In addition there will be introductory and critical material where appropriate. Because this course serves to fill several university requirements, it aims, using the topics chosen, to be introductory to the study of literature and its aims, challenges, and pleasures. However, it is an English course—there will be daily reading and writing. Be advised that I expect thoughtful, active, daily participation from each member of this class.



ENG 233-001

ENG 233-001         MWF 1200PM-1250PM        Carey
INTRO TO LIT    

ENG 234-001         TR 0800AM-0915AM        Katherine Rogers-Carpenter
INTRO TO WOMENS LIT    Postcolonial Women Writers

In ENG 234, we will read works by contemporary women writers, including Arundhati Roy's The God of Small Things, Alice Walker's The Temple of My Familiar, and Laura Esquival's Like Water for Chocolate. Although these works originate from different former colonies, this course emphasizes their common themes and perspectives. Together, the class will consider how women's experiences differ across cultures, whether the texts suggest a transnational feminism or not, how these authors negotiate feminist and/or women's issues, and how they (re)construct personal and cultural history.



Course requirements include:

A midterm exam, a final exam, two six-page papers, several short written responses, and two group presentations.



Required texts include:

Maxine Hong Kingston's Woman Warrior

Laura Esquivel's Like Water for Chocolate

Arundhati Roy's The God of Small Things

Fatima Mernissi's Dreams of Trespass

Tsitsi Dangarembga's Nervous Conditions

Alice Walker's The Temple of My Familiar

Ella Shohat's Talking Visions: Multicultural Feminism in a Transnational Age

ENG 234-002

ENG 234-002         MWF 1000AM-1050AM        Purdue
INTRO TO WOMENS LIT:    Nineteenth-Century British Women Writers

In this class students will read and discuss a variety of nineteenth-century British literature by women writers. We will read both canonical and non-canonical works beginning with Jane Austen’s Emma and ending with Sarah Grand’s The Beth Book. In addition to studying important nineteenth-century women writers, we will also examine the contexts in which they were writing. We will discuss the specific historical events and cultural influences surrounding the literature, examining the ways the texts for our class address issues important to the era. Some aspects of nineteenth-century life we will discuss are the conflicts between science and religion, the “woman question,” the extension of the empire, industrialization, and the role of the artist in investigating, articulating, and affecting these issues.



Texts:

Jane Austen’s Emma

Mary Prince’s The History of Mary Prince, A West Indian Slave Narrative

Emily Bronte’s Wuthering Heights

Elizabeth Gaskell’s Mary Barton

George Eliot’s Middlemarch

Carolyn Christensen Nelson’s A New Woman Reader: Fiction, Articles and Drama of the 1890s

Sarah Grand’s The Beth Book

ENG 234-003

ENG 234-003         MWF 0200PM-0250PM        Oaks
INTRO TO WOMENS LIT    

ENG 261-001         MWF 1100AM-1150AM        Campbell
WEST LIT GREEKS-RENAISSA   

English 261 surveys Western World literature from the time of Homer to the 17th century, focusing upon works of great literary merit which represent main elements in the evolving culture. In addition, the course will include some works from non-Western cultures. As we trace the shifting period styles, certain repeated themes will lend continuity to the course: life as a voyage or pilgrimage; human origins and purpose and therefore our relatedness to and alienation from nature, the gods, or God; the human as heroic, tragic, comic; what, for each author, seems to constitute success; and the place of the artist in or on the fringes of society.

There will be 2 examinations, a 4-6 page paper, a 6-8 page paper and several short writing assignments. Students will also be held responsible for in-class peer reviews for both paper assignments.

ENG 261-201         T 0600PM-0830PM        Wilke
WEST LIT GREEKS-RENAISSA   

ENG 264-001         TR 1100AM-1215PM        Barrio-Vilar
MAJOR BLACK WRITERS    Black Identity in the U.S. and the Caribbean

This course serves as an introduction to literature written by Black authors from the United States and the Caribbean. We will explore how Black literature has evolved over time and has impacted various social and political movements around the world, such as Emancipation and Reconstruction, the Harlem Renaissance, Postcolonialism, Feminism, and the Black Arts movement. Our class discussions will consider issues such as the following: How is the Black experience articulated in literature? In what ways do race, class, gender, sexuality, and culture affect the construction of Black identity and Black literature? How does Black literature influence society? How do the assigned texts speak to each other?

Texts:
Mary Prince's The History of Mary Prince, a West Indian Slave (1831)
Frederick Douglass' Narrative of the Life of Frederick Douglass (1845)
Nella Larsen's Passing (1929)
Chester Himes's If He Hollers Let Him Go (1945)
Amiri Baraka's Dutchman (1964)
George Lamming's In the Castle of My Skin (1970)
Octavia Butler's "Bloodchild" (1984)
Jamaica Kincaid's Lucy (1990)
Short essays

Course requirements: participation in class discussions, three papers (5-6 pages), several drafts, a midterm and a final exam, among other assignments. For more information go to: http://www.uky.edu/~lbarr2/eng264fall05.htm

ENG 264-002         MWF 0800AM-0850AM       
MAJOR BLACK WRITERS    

ENG 264-003         MWF 0100PM-0150PM        Briggs
MAJOR BLACK WRITERS    

Using a variety of literary texts, we will examine the ways in which the individual and collective search for an African American identity has manifested itself within and across specific periods of African American history. Periods covered will include the Slave Era, Emancipation and Reconstruction, the Harlem Renaissance, the Jim-Crow Era, Civil Rights Movements, and Contemporary Thought. In addition to reading the literary texts, we will spend time discussing their historical and cultural contexts.





Frederick Douglass Narrative of the Life of Frederick Douglass (1845)

Harriet Jacobs Incidents in the Life of a Slave Girl (1861)

Frances E. W. Harper Iola Leroy (1892)

Booker T. Washington Up From Slavery (1901)—selections

W.E.B. DuBois The Souls of Black Folk (1903)—selections

Nella Larsen Passing (1929)

Wallace Thurman The Blacker The Berry (1929)

Richard Wright Uncle Tom’s Children (1939)

Toni Morrison Sula (1973)



ENG 271-001

ENG 271-001         MWF 0900AM-0950AM        Reside
THE NEW TESTAMENT AS LIT   

In this course we will study what is undoubtedly one of the most important documents of Western civilization. We will study the 27 books of the New Testament from a literary (rather than theological) perspective and look at some of the most influential New Testament criticism and scholarship of the last century. Students be graded on 5 major unit tests, a final exam, respectful participation in class discussions, and various minor homework assignments.

We will be using the Oxford Edition of the New Revised Standard version of the Bible and an accompanying textbook (to be announced later).

ENG 281-001         TR 0930AM-1045AM        Froula
INTRODUCTION TO FILM     America at War

This course takes as its point of inquiry representations of America at war. We will examine how Hollywood attempts to do what some war writers call the impossible: tell the war story. We begin with the US involvement in WWI and end in the current "war on terror" as we investigate how films represent historical events, cultural influence, and national mythology. Two papers, a midterm, a viewing journal, and a final exam.


Filmography (subject to variation): The Big Parade, Paths of Glory, The Best Years of Our Lives, Sands of Iwo Jima, The Deer Hunter, Apocalypse Now, Full Metal Jacket, Rambo II, Courage Under Fire, Saving Private Ryan, Three Kings, Black Hawk Down, and Team America: World Police.

ENG 281-002         MWF 1200PM-1250PM        Hendricks
INTRODUCTION TO FILM    

A basic introduction to the art form of the film, covering elements such as editing, directing, cinematography, music, acting, genre, and so on. Though focusing primarily on film form and technique, we will also pause occasionally to look back at film history, observing how films from different eras influence those that come after them and break from those that came before. We will also study selected film genres. Each week we will focus on a specific film for viewing and discussion. As a theme these films will deal with the formation and declension of the family. Grading will consist of three papers, midterm and final exams, group presentations, and viewing quizzes.



Films scheduled (subject to change): The Kid, Aliens, ET, Rebel Without a Cause, Catch Me if You Can, At Close Range, Public Enemy, Goodfellas, Meet Me in St. Louis, The Godfather, Chinatown, The Big Heat, Logan's Run

ENG 281-002         MWF 1200PM-1250PM        Hendricks
INTRODUCTION TO FILM    

A basic introduction to the art form of the film, covering elements such as editing, directing, cinematography, music, acting, genre, and so on. Though focusing primarily on film form and technique, we will also pause occasionally to look back at film history, observing how films from different eras influence those that come after them and break from those that came before. We will also study selected film genres. Each week we will focus on a specific film for viewing and discussion. As a theme these films will deal with the formation and declension of the family. Grading will consist of three papers, midterm and final exams, group presentations, and viewing quizzes.



Films scheduled (subject to change): The Kid, Aliens, ET, Rebel Without a Cause, Catch Me if You Can, At Close Range, Public Enemy, Goodfellas, Meet Me in St. Louis, The Godfather, Chinatown, The Big Heat, Logan's Run

ENG 281-003         TR 1230PM-0145PM        Del Toro
INTRODUCTION TO FILM    


As an introduction to the study of film, we will consider how elements such as cinematography, narrative, sound, editing, etc…function in film, often creating and emphasizing meaning. We will also consider how film genre, promotion, distribution, and exhibition shape the way we view individual films, as well as, shape the film’s meaning. Though we will dedicate most of the semester to film form and technique, we will also consider some broader themes in film history such as the representation of race, sexuality, and gender in film. Coursework will include two papers, midterm and final, group presentations, shorter writing assignments, and class discussion.






ENG 306-001

ENG 306-001         MWF 0900AM-0950AM       
INTRO TO PROFESSIONS    IN WRITING

ENG 330-001         MWF 1200PM-1250PM        Oaks
TEXT AND CONTEXT:    FRANKENSTEIN

ENG 330-002         MWF 1000AM-1050AM        Campbell, W. R.
TEXT & CONTEXT: LINCOLN, DAVIS, AND THE CIVIL WAR   

This course will set Abraham Lincoln and Jefferson Davis in the rich context of their times, especially as the American Civil War brought them, their principles, and the nation(s) into armed conflict. We shall read widely not only in the writings of these two presidents but also in other writings of and about those times--in letters, diaries, journals, speeches, proclamations, official documents, and memoirs. Each student will write three examinations and two papers. Texts: The Life and Writings of Abraham Lincoln, ed. Nevins and Stern (Modern Library); Jefferson Davis: the Essential Writings, ed. Cooper (Modern Library); and The Civil War Archive: The History of the Civil War in Documents, ed. Commanger and Bruun (Tess Press).

ENG 330-003         TR 0930AM-1045AM        Zunshine
TEXT AND CONTEXT:    NABOKOV'S LOLITA

This course explores the relationship between the individual (your own) and broader cultural reading and misreading of Lolita. Required texts: Nabokov’s Invitation to a Beheading and Lolita, Nafizi’s Reading Lolita in Tehran, and McEwan’s Atonement. Required movies: Kubrick’s Lolita, Lyne’s Lolita, and Mendes’s American Beauty. Two long papers, six short writing assignments, a midterm, and a final.

ENG 330-004         TR 1100AM-1215PM        Kendall
TEXT AND CONTEXT:    LANGUAGE, SELF, AND SOCIETY,EXPLORING THE USES OF LITERACY NARRATIVES

"I have taken Caliban's advice. I have stolen their books.
I will have some run of this isle."
Richard Rodriguez, Hunger of Memory

This course conceives literacy as a set of social practices, intimately tied to issues of identity and place, schooling and community, legitimacy, access, and power. As a class, we will read literacy narratives for the ways in which they challenge and affirm culturally-scripted notions of language acquisition and literacy, and we will write literacy narratives that articulate our own experiences, in an effort to analyze our public and private uses of language to claim various memberships and to construct/express identities. Through class discussions, we will confront working assumptions about the institutional and extracurricular acquisition of literate practices, explore the connections between language and the fashioning of self and society, and become critical readers of what compositionist Morris Young calls "the anxiety and nostalgia of literacy"-- the idea that becoming literate often simultaneously threatens an individual with social and/or cultural displacement even as it promises to confer new forms of legitimacy, access, and, as Rodriguez's words importantly remind us, power.

ENG 330-005         TR 1230PM-0145PM        White
TEXT AND CONTEXT:    SURVIVING IN THE MEAN TIME

Recent Hubble Space Telescope images of distant exploding stars confirm the permanence of a mysterious, repulsive force called dark energy that appears to dominate the universe. ‘We still have almost no clue what it is,’ said study leader Adam Riess of the Space Telescope Science Institute (STScI) in Baltimore .” Dark Energy and its equally mysterious sidekick, Dark Matter, comprise ninety five percent of our universe, and yet we remain nearly clueless about these invisible “realities.” Despite our ignorance, some artists, sensing the profane nightmares haunting modern history--could the dynamic duo of Darkness be implicated?-- embedding themselves near the front lines, have issued reports in which comic and tragic vision both contend for supremacy. Will this dangerous duo finally triumph? In reply, science suggests that just as the universe began with the Big Bang, it will end—some thirty billions years hence—with the Big Crunch or the Big Rip, when the universe either implodes or explodes into stellar dust. (“That’s all, Folks!”).In the meantime for better or worse we exist between the Bangs—or is it imean time, as it so often seems in modern art, film, and television. Nonetheless, art suggests, in that meantime (that portion of time of most interest to us), our existence will not end but continue, as in The Big Lebowski, wherein, as some know, “the dude abides.”



Kafka, "Metamorphosis"; Chekhov, The Cherry Orchard; Heller, Catch-22; Chaplin, Modern Times; Beckett, Waiting for Godot; Ionesco, Rhinoceros; Kundera, “Nobody Will Laugh”; Thompson, Fear & Loathing in Las Vegas; Sartre, No Exit; Dr Strangelove; The Big Lebowski; Selected poems by John Ashbery; Charles Simic; Wislawa Symborska; Bob Dylan.



Our first objective is to practice the art of close reading of texts, specifically those in which a peculiar comic vision directs our attention toward modern savagery. The second objective is to investigate contexts, aesthetic, social, and cultural, with special focus on comic forms and techniques. We will attend to the possible influences modern sciences may have exercised on our imaginations. We will also examine certain earlier theories of comedy (eg. Bergson) to see how our ideas of the comic mode may have changed. Papers, class discussions, and noteworthy effort.

ENG 331-001

ENG 331-001         MWF 1100AM-1150AM        Prats
SURVEY OF BRITISH LIT I    

ENG 332-001         MWF 1200PM-1250PM        Rosenman
SURVEY OF BRITISH LIT II   

This course is partly a traditional survey, moving chronologically through history from the Restoration to the present (or almost the present) in order to trace changes and continuities among canonical literary texts, such as Wycherly's The Country Wife, Pope's The Rape of the Lock, selections from the Romantic poets, Wilde's The Portrait of Dorian Gray, the poetry of T.S. Eliot and Yeats -- you get the picture. In addition, it includes non-canonical texts such as M.E. Braddon's Victorian potboiler Lady Audley's Secret, working class literature, and post-colonial poetry by Derek Walcott and Seamus Heaney, works that challenge and revise traditional literary history. The second orientation of the course is cultural studies: we will also read some social historical documents from the periods we study in order to trace the interconnections among literary works and their cultural contexts. Although this is a large class, I will provide opportunties for discussion that I hope you will take advantage of.

Because this is primarily a course for English majors, expect to do a fair amount of reading and writing, including two 5-7 papers, a midterm, and a final exam. I'll suggest some creative ways students can fulfill one of these assignments if they'd like to depart from the standard format of the literary essay. There will also be some informal writing along the way to keep you on track and spark class discussion.

ENG 333-001         MWF 0900AM-0950AM        Hayes
STUDIES IN A BRITISH AUTHOR:    CHAUCER

This course will cover Chaucer’s The Canterbury Tales, which we will read in its entirety in Middle English. Assignments will include short textual analyses (ca. 1-2 pages each), culturally contextualized readings of the text (ca. 4-5 pages each), translation and memorization exercises. You will also be expected to practice your language skills by listening to the tales read in Middle English (available on the audio files on our course web page).

ENG 334-001         TR 1100AM-1215PM        Marksbury
SURVEY OF AMER LIT I    

A review of the American canon from its inception to around 1865. The emphasis will be on the essay, the short story, and the novel. After some attention to earlier sources (native American trickster tales, Bradfor, Bradstreet, Edwards, and probably Charles Brockden Brown, the course will concentrate on major authors of the 19th century--Emerson, Hawthorne, Poe, Thoreau, Whitman, Melville, and Dickinson.

Connections and distinctions between the Dark Romantics and the Transcendentalists will help organize the material; themes of the self balanced between regeneration and implosion, invention and annihilation will help steer the conversation.

We'll use The Norton Anthology (sixth edition), augmented by a critical edition of Melville's The Confidence Man. Three exams. (The second half of this course, English 335, will be offered in the spring semester of 2006.)

ENG 335-001         TR 1230PM-0145PM        Trask
SURVEY OF AMER LIT II     American Fiction from James to Morrison

A study of the major novelists in the American tradition between 1880 and 1980. Two short (5pg) papers, a midterm, and a final exam are required. The focus will be on these books:

Henry James, Daisy Miller / Washington Square
Mark Twain, Huck Finn
Kate Chopin, The Awakening
Edith Wharton, The House of Mirth
Theodore Dreiser, Sister Carrie
Willa Cather, My Antonia
F. Scott Fitzgerald, The Great Gatsby
Ernest Hemingway, In Our Time
Nella Larsen, Passing
Ralph Ellison, Invisible Man
Thomas Pynchon, The Crying of Lot 49
Toni Morrison, Song of Solomon

ENG 336-001         MWF 1100AM-1150AM        Reece
STUDIES AMER AUTHOR OR    AUTHORS: NONFICTION LIT

ENG 336-002         TR 0200PM-0315PM        Marksbury
STUDIES AMERICAN AUTHOR    OR AUTHORS: T. C. BOYLE

For the last twenty-five years, T. C. Boyle has taken a sardonic and calculating look at what through his eyes become American surrealities. His rigorous and satirical novels and stories usually manage to skewer both sides of any question, and his themes--the formation of identity, the individual in relation to history, and the legacy, at once enduring and dubious, of the the 1960s--continue to beguile and disturb.
We'll trace Boyle's development as a stylist and a demolitionist of sytems, moving in chronological order from the earliest stories, like "Greasy Lake", which are fiendishly designed for maximum postmodern entertainment value at the expense of the hapless protagonists, through such mid-period novels as World's End and East is East, where the choices--for the author and the reader as well as the characters--get more and more complicated.
The last few novels--we'll read The Tortilla Curtain, A Friend of the Earth, and Drop City--have become increasingly engaged with the exterior forces of history, politics, and the possibilities for social change. The ironies still resonate but now they're tempered by mercy; the humor still bites but now it is undercut by something not unlike. . . compassion.
Has Boyle lost his youthful exuberance and sense of play? Or gained that modicum of real maturity (as opposed to simply getting old) denied to so many of his contemporaries? What do these questions say about the generation--and the range of narrative and stylistic approaches--he represents? About the conflicts between our old friend irony and our long-lost cousin empathy in a post-9/11 world?

ENG 381-001         TR 0930AM-1045AM        Marksbury
HISTORY OF FILM I    

A history of cinema, with an emphasis on aesthetic development and attention to genre, technical innovation, audience reception and economics, the emergence of the director as auteur and the actor as movie star. There will be two film viewings per week as we trace the evolution of the medium from its inception and early attempts at narrative through the pioneers of the Hollywood silent film (alongside German, Russian, and French contemporaries) and the early years of the American studio system (sound films through 1941 or so).
The written text is A Short History of the Movies by Gerald Mast and Bruce Kawin. The movies we will watch represent as many different uses of film--on levels ranging from narrative to cultural--as possible. A short list would include work by Lumiere and Melies, The Great Train Robbery, Mack Sennett and Chaplin shorts, The Gold Rush, The General, The Cabinet of Dr. Caligari, Nosferatu, Battleship Potemkin, Un Chien Andalou (Salvador Dali and Bunuel), The Rules of the Game, Freaks, Sullivan's Travels, The Blue Angel, Stagecoach, and His Girl Friday.
(The second half of this film history sequence, English 382, will be offered in the spring semester of 2006.)
Note: Film viewings will be scheduled on Monday and Wednesday, probably at 3 and 6. If you cannot make it to these screenings, do not schedule this class.

ENG 395-001         TBA -         Rosenman
INDEPENDENT WORK    

ENG 401-001         TR 0200PM-0315PM        Eldred
SPEC TOPICS IN WRITING:    CREATIVE NONFICTION

Is it possible to write nonfiction creatively? Creative nonfiction applies imaginative techniques from fiction and poetry to the essay form. The result is literature, factually correct, “true,” imaginative and engaging. This writing workshop will focus just about equally on looking at models and on composing your own assignments. Regular attendance is crucial.

ENG 401-002         MWF 0100PM-0150PM        Reece
SPEC TOPICS IN WRITING:    NATURE WRITING

ENG 407-001         W 0300PM-0530PM        Vance
INTER WKSP IMAG WRITING:   POETRY

ENG 407-401         W 0600PM-0830PM        Norman
INTER WKSP IMAG WRITING:   FICTION

ENG 480G-001         MWF 1000AM-1050AM        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 note 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 480G-002         MWF 0100PM-0150PM        Prats
STUDIES IN FILM:    FILM CRITICISM

x xxxx



text

ENG 481G-002         MWF 0100PM-0150PM        Allison
STUDIES IN BRITISH LITERATURE:    SCOTTISH LITERATURE

A course on Scottish literature, from Sir Walter Scott to Janice Galloway. The course provides a survey of modern Scottish fiction and an introduction to Scottish poetry. You will be required to read a volume of Scottish social history, seven or eight novels, and a selection of poetry, from Robert Burns to the present. Some of the novels (and all of Burns) contain a good deal of Scottish Lowlands dialect (“Lallans”), which can easily be mastered once you get used to it. This course will coincide with an exhibition of Scottish books and manuscripts at Special Collections, Margaret I. King Library; students will do a written project associated with that. Be prepared for classroom discussion including organized group discussion, lectures, oral reports. Texts to include: Robert Burns, Poems and Songs; Walter Scott, The Bride of Lammermoor; James Hogg, The Private Memoirs and Confessions of a Justified Sinner; Robert Louis Stevenson, The Strange Case of Dr Jekyll and Mr Hyde and Weir of Hermiston; J.M.Barrie, Peter Pan; John Buchan, The Thirty-Nine Steps; Willa Muir, Imagined Corners; Muriel Spark, The Prime of Miss Jean Brodie; Irvine Welsh, Trainspotting; Janice Galloway, Where You Find It: Stories; Christopher Harvie, Scotland: A Short History. Written requirements include several essays and exams.

ENG 482G-001         TR 0930AM-1045AM        Doolen
STDS AM LIT:    THE NOVEL BEFORE 1865

How does the novel capture the social and political pressures of a particular historical moment? Where is the line between fiction and history, dreams and reality? In this course, a survey of the novel in the United States from the 1790s to 1865, you will develop answers to these essential questions. We will read the period’s most important authors, such as Charles Brockden Brown, Catherine Sedgwick, and Herman Melville, as well as investigate how the form of the novel changes over the first half of the nineteenth century. Our novels cut across several genres, including the American Gothic, the Sentimental Novel, and the Historical Romance, and we will try to understand the relationship between literary and historical writing. We will pay special attention to the larger cultural history and the links between the novel and historical events that may have shaped it, including conflicts over slavery, the national policy of Indian Removal, and debates about American Empire in the 1850s. A short and tentative list of novels include Hannah Foster’s The Coquette (1797), Charles Brockden Brown’s Ormond (1799), James Fenimore Cooper’s The Spy (1819), Catherine Sedgwick’s Hope Leslie (1827), and Herman Melville’s Typee (1846).

ENG 483G-001         TR 0200PM-0315PM        Schoenfeld
STUDIES IN AFRICAN AMERICAN LITERATURE:   NARRATIVES OF MARRIAGE AND FAMILY IN AFRICAN AMERICAN WOMEN'S WRITING

In Zora Neale Hurston's novel Their Eyes Were Watching God, Nanny observes that African American women are "de mule uh de world." Her response to this situation is to marry her granddaughter to a man whose wealth might take Janie off of her feet. Janie, in contrast, wants a man whose charm will sweep her
off of her feet. To what extent do historical circumstances (expressed in this
case as generational differences) shape the meaning of marriage for African
American women? What other kinds of hopes are invested in the institution of
marriage in African American women‚s writing (and lives)? When might marriage
cease to be regarded as a viable avenue for expanding African American women's
opportunities? How do African American authors negotiate the loaded issue of
African American female sexuality both within and outside of marriage? What
circumstances could make death an African American mother's greatest gift, as
in Toni Morrison's novel Sula, for example? What circumstances could make
abandonment a generous gesture, as in Harriet Jacobs' Incidents in the Life of
a Slave Girl? We will explore these and other related questions in this
course. Other authors likely to be under discussion include: Harriet Wilson,
Frances E. W. Harper, Paule Marshall, Jessie Faucet, and Nella Larsen.

ENG 487G-001         TR 1230PM-0145PM        Zunshine
CULTURAL STUDIES:    CHILDREN & THE NOVEL

Drawing on three centuries and three national cultures, this course focuses on novels written for children (Lewis Carroll’s Alice in Wonderland and Through the Looking Glass), about children (Jean-Jacques Rousseau’s Emile: Or, on Education), and from the child’s point of view (Vladimir Nabokov’s Speak, Memory). Our goal is to explore the relationship between culture-specific constructions of childhood and novelistic representations of fictional consciousness. Two long papers, six short writing assignments, a midterm, and a final.

ENG 507-001         T 0330PM-0600PM        Finney
ADV WKSHP IMAG WRITING:    FICTION

ENG 507-002         W 0300PM-0530PM        Finney
ADV WKSHP IMAG WRITING:    POETRY

ENG 507-003         R 0330PM-0600PM        Edwards
ADV WKSHP IMAG WRITING:    AUTOBIOGRAPHY/MEMOIR

What is a literary essay? What is the difference between the personal essay and autobiographical fiction? Where, finally, is the border between memory and imagination, and how does a writer weave experience, research, and perception to form an essay that is, cogent, unique, and relevant to a wider audience?

These are the questions which will open this advanced undergraduate/graduate class on autobiography and memoir, and which will serve as a point of embarkation for a deep and thorough exploration of this multifaceted and sometimes elusive genre. The primary focus of the class is on the generation of new essays, and on revision. This is a workshop class, where student writing will become an important text. All workshops and discussions will be supportive, a place to give and receive thoughtful criticism with an eye toward revision, and students will be expected to participate fully in these discussions. You will be expected not only to take your own work seriously, but also to give fair, constructive feedback to the other students in the class.

Writing will be our focus, but since reading and writing are a symbiotic pair, each essential to the other, we will also study published literary essays. We will explore a wide diversity of styles and approaches, taking a close, analytical look at finished essays as we seek to understand the forms and unravel the process of creation.

ENG 509-201

ENG 509-201         T 0500PM-0730PM        Williamson
COMPOSITION FOR TEACHERS   Teaching Writing

This course introduces students to the theories, practices, and approaches for teaching composition, with an emphasis on the middle and secondary level. The major aim of this course is to equip future teachers with the knowledge and skills necessary to better teach students to express their ideas through printed text. The course focuses on assignment and lesson development, strategies for improving writing, and response and assessment of writing. A review of grammar, usage, and mechanics is included.

The course is divided into units focusing on these essential questions:
What does it mean to be a professional writing teacher?
How do teachers use evaluation and assessment to help students improve their own writing?
How can teachers design prompts that lead to better student writing?
How do teachers use theories and approaches to structure writing classes and environments?
How can literary models and grammar be incorporated into the teaching of writing?

The structure of the course is similar to a graduate seminar where students are asked to grapple with ideas and test their own assumptions and theories about the teaching of composition. Thus, the course is part composition and part teaching methods. Ultimately, the final grade is based on several writing assignments (including unit lesson plans), class participation, and the final exam. Questions about the course may be directed to the instructor, John Williamson via email: jrwilliam@ft-thomas.k12.ky.us
ENG 512-001

ENG 512-001         TR 1230PM-0145PM        Stump
MODERN ENGLISH GRAMMAR    

This course is an introduction to contemporary syntactic theory and its application in describing and explaining the properties of English grammar. Topics include the principles of phrase structure; the syntactic projection of lexical information; agreement and government phenomena; binding relations; and transformational movement and the constraints which restrict it. We will devote particular attention to current debates in syntactic theory. There will be six written homework assignments, a midterm exam, and a final. The textbook will be Andrew Carnie's Syntax: A Generative Introduction.

ENG 513-001

ENG 513-001         MW 0500PM-0615PM        Clayton
TCHG ENGLISH AS A SECOND   LANGUAGE

ENG 519-001         MWF 1000AM-1050AM       
INTRO TO OLD ENGLISH    

ENG 600-001         MWF 1100AM-1150AM        Allison
BIBLIOGRAPHY & METHODS OF RESEARCH   

A course in three parts: (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. A visit to Special Collections, to consider the role of archives in the modern research library. The course will coincide with a Special Collections exhibition of Scottish rare books and manuscripts, 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 rise of electronic publishing.(3) A survey of 20th century editorial theory, from W.W. Greg to Jerome McGann, including a number of famous editorial case studies (including Thomas Hardy, Herman Melville and Sylvia Plath.) Texts to include: selected essays by W.W.Greg, Fredson Bowers, Thomas Tanselle; Jerome McGann, Critique of Modern Textual Criticism; The Textual Condition; and Radiant Textuality; David Finkelstein (ed.), The Book History Reader; Thomas Hardy, The Woodlanders; Sylvia Plath, Ariel; Herman Melville, Billy Budd.
ENG 601-001

ENG 601-001         TR 0200PM-0315PM        Eldred
ESSAYS & CREATIVE NONFIC   

Keep hearing the term “creative nonfiction” but wonder what it really is? ENG 601 is designed for graduate students who want to explore creative nonfiction and experiment with their own prose styles. Because this class is linked with ENG 401, graduate students will also gain practice in teaching upper-division creative nonfiction workshops. Requirements: At the beginning of the semester, expect to read examples of the form and to produce short workshop pieces. About midterm, these short workshop pieces will begin (magically) evolving into two longer, polished essays, 12-15 pages each. We will end the semester with “flash readings” and discussions of publication venues. Each graduate student will also design and lead one undergraduate workshop session.

ENG 607-001         T 0330PM-0600PM        Edwards
GRAD WRTNG WKSHP:    FICTION

This is a graduate level workshop for serious writers. The course is designed to explore in great depth the writing of fiction, especially the short story, and to assist students with experience in the genre in developing their own voices and craft. 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. 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, both traditional and experimental, as we seek to understand the forms and unravel the process of creation. The class will be organized as a writing workshop, in which students will have a chance to present their own work, and also the opportunity to critique the work of their peers in an atmosphere both challenging and supportive.

ENG 609-001         MWF 0100PM-0150PM       
COMPOSITION FOR TEACHERS   

ENG 609-001         MWF 0100PM-0150PM       
COMPOSITION FOR TEACHERS   

ENG 625-001         TR 1100AM-1215PM        MacDonald
ST RENAIS DRA EXCL SHKSP   

English 625 is designed as a survey of non-Shakespearean English Renaissance drama. Just as you'd be pretty confused if you relied on Shakespeare for your accurate knowledge of, say, Roman or English history, you'd also develop an off-kilter view of Renaissance drama if you developed your knowledge of it from reading only his plays. Civic entries, court masques, and pastoral entertainments are important Renaissance dramatic kinds, but Shakespeare left us no examples. His comedy is overwhelmingly romantic, rather than the satiric kind that energized his great contemporaries Ben Jonson and John Marston, and he didn't work at all in city comedy, which is responsible for some of the best plays in the period. In tragedy, Middleton, Webster and Ford stand with Shakespeare, although on a different part of the stage. The course will nicely suplement any Shakespearean dramatic reading you may already have done, as you work toward grasping the essential features of the period's drama--all of it.
Our primary textbook will be the 2nd edition of Arthur Kinney's Renaissance Drama anthology from Blackwell. Short bibliographic project, longer paper.

ENG 651-001         R 0330PM-0600PM        Doolen
STDS AMER LIT BEF 1860    


The conventional story of U.S. culture before the Civil War resembles a conversion narrative and it goes something like this: white America, haunted by slavery and racial injustice, must be purified and reborn in a war that will expunge the evils of slavery and will finally invest the nation with the full promise of Democracy. This course opposes this story of American Exceptionalism and the evolution of national identity. Instead, we will explore how imperial violence was intrinsic to the formation of a distinctive national ideology. We will survey American writing before 1865, concentrating on the novel but also examining other literary forms, such as autobiography, the essay, and the slave narrative. One of our critical practices will be to situate each text and author in their historical context, paying special attention to the imperial histories of slavery, Indian dispossession, war, and national expansion. Our aim will be to develop strategies for interpreting the many links between these histories and American writing.

A tentative reading list includes Charles Brockden Brown’s Ormond (1799), James Fenimore Cooper’s The Last of the Mohicans (1826), Catherine Sedgwick’s Hope Leslie (1827), William Apess’ A Son of the Forest (1829), David Walker’s Appeal (1829), Frederick Douglass’ Narrative of the Life (1845), and Henry David Thoreau’s Walden (1854). The list will undoubtedly change over the summer, but you can be certain that we will cover a representative mix of canonical and non-canonical authors and texts. Course requirements include a final paper and annotated bibliography.
ENG 656-001

ENG 656-001         TR 0200PM-0315PM        Pierce
BLACK AMER LITERATURE    

ENG 691-001         TBA -         Eldred
READINGS IN RHETORIC:    CONSULTING PRACTICES

ENG 700-001         TR 1230PM-0145PM        Pierce
TUTORIAL PH.D.CANDIDATES   

ENG 700-002         TR 1230PM-0145PM        Pierce
TUTORIAL PH.D.CANDIDATES   

ENG 748-001         TBA -         Rosenman
MASTERS THESIS RESEARCH   

ENG 749-001         TBA -         Rosenman
DISSERTATION RESEARCH    

ENG 753-001         T 0330PM-0600PM        Trask
SEM AMER LIT SINCE 1900     American Modernism

A study of the major trends and movements in American literary culture between 1900 and 1930. We shall look at the period’s crucial aesthetic developments and its most pressing social concerns (Jim Crow, nativism, the new woman). We shall also attend closely to the era’s intellectual currents (pragmatism, the managerial revolution, behaviorism, eugenics, ethnography). Our emphasis will be on the uneven shift from older genres like regionalism, naturalism, and realism toward “modernism,” which we shall understand less as a unified concept or program than as a provisional category that means different things to different practitioners in the first decades of the 20th century.

REQUIRED TEXTS
Henry James, Wings of the Dove
W.E.B. Dubois, The Souls of Black Folk
Sherwood Anderson, Winesburg, Ohio
Ernest Hemingway, Collected Stories
Robert Frost, North of Boston & A Boy's Will
Nella Larsen, Passing
William Carlos Williams, Spring and All
Willa Cather, The Professor's House
Gertrude Stein, Three Lives
William Faulkner, As I Lay Dying
Edgar Lee Masters, Spoon River Anthology
Jean Toomer, Cane
F. Scott Fitzgerald, The Great Gatsby
T.S. Eliot, The Wasteland and Other Poems

In addition you will be obliged to become familiar with the significant critical positions on American modernism and modernity over the last half-century.

REQUIRED WORK
One long seminar paper (20 pages). One in-class presentation. An annotated bibliography dealing with the topic of your seminar paper due after the Thanksgiving holiday.

ENG 768-001         TBA -         Rosenman
RES CR MASTERS DEGREE    

ENG 769-001         TBA -         Rosenman
RES CR DOCTORS DEGREE    

ENG 771-001         TR 0930AM-1045AM        Roorda
SEMINAR IN SPEC TOPICS:    ECOCRITICISM

ENG 771-002         W 0300PM-0530PM        Blum
SEMINAR IN SPEC TOPICS:    CULTURAL STUDIES

ENG 780-002         TBA -         Rosenman
DIRECTED STUDIES    

ENG 781-001         M 0300PM-0530PM        Prats
SEM IN FILM AND AMERICAN CULTURE    NARRATIVES OF MANIFEST DESTINY

Facing West: Whitman’s Democratic Vistas and the Narratives of Manifest Destiny

I would like to share with the few (though not necessarily with the proud, and even less with the marines) some of the research that I have been doing in the past three or so years on the ideology—racist, imperialist, triumphalist—all these invoked in terms of the “errand into the wilderness” and the concept of mission—of American expansionism (southward to Texas and Mexico and even (yes) Cuba; westward to Oregon and California; transpacific to Japan, Korea, and Vietnam [and round again to Iraq?]). To this concept (or something very like it) John L. O’Sullivan in 1845 gave the name manifest destiny. I want to consider not only the historical features of the idea of manifest destiny—its origin in Puritan tracts and narratives of Indian captivity, its exemplification in the Lewis and Clark expedition, in Cooper’s The Prairie and Parkman’s The Oregon Trail, as well as in the rhetoric of empire during the second wave of manifest destinism in Theodore Roosevelt and Alfred T. Mahan—but its critiques in Democratic Vistas (leading back to Emerson and Thoreau, to Melville and Hawthorne, and forward to the American Western (Fort Apache, The Searchers, and others), the WWII movies (Sands of Iwo Jima, They Were Expendable, and others), and the movies of the Vietnam War (The Green Berets, Apocalypse Now, Full Metal Jacket, We Were Soldiers et. al.).—all to be closely supplemented by readings in Drinnon, Facing West, Slotkin, Regeneration through Violence, and Bercovitch, The Rites of Assent. A research paper with bibliography and filmography as well as an insatiable willingness to pursue ideas through the adventures of their complications.
ENG 481G-001