Course Descriptions

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
BEG WKSP IMAG WRITING: FICTION

ENG 207-002 R 0330PM-0600PM Edwards
BEG WKSP IMAG WRITING: FICTION

English 207 Fiction is an introductory undergraduate course in the writing of Fiction. Students will explore the essential elements of fiction, including imagery, voice, character, setting, the use of language, and narrative form. Students will generate and develop both traditional and experimental forms in their own writing, and they will participate fully in a supportive workshop setting, giving and receiving thoughtful criticism. The goals of the course are to learn write more powerful and effective stories, to read published work with an eye for craft, and to experience a community of writers.

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

ENG 207-401 T 0600PM-0830PM Norman
BEG WKSP IMAG WRITING: FICTION

ENG 230-001 MWF 0900AM-0950AM
INTRO TO LIT

ENG 230-002 MWF 1000AM-1050AM
INTRO TO LIT

ENG 230-003 MWF 1100AM-1150AM
INTRO TO LIT

ENG 230-004 TR 0330PM-0445PM
INTRO TO LIT

ENG 230-005 MWF 0100PM-0150PM
INTRO TO LIT

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

ENG 230-007 MWF 1200PM-1250PM
INTRO TO LIT

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

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 1795-1860. We'll look at the major concerns of the gothic, our enduring beliefs in the nature of evil, our pleasure in fear, 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:! 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? In addition to Brown and Poe, we‚ll be reading work from Washington Irving, Herman Melville, Nathaniel Hawthorne, and some others. Two essays, midterm, final. Class format is discussion.

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

ENG 231-001 MWF 0100PM-0150PM
LIT AND GENRE

ENG 231-401 TR 0600PM-0715PM
LIT AND GENRE

ENG 232-001 MWF 1200PM-1250PM Carter
LIT AND PLACE: LITERATURE OF THE WEST

Since Europeans “settled” the U.S. and Manifest Destiny proclaimed all the land theirs, the voices of the Native Americans and the Western pioneers have bounced against each other. This course will examine several of these voices, both Native American and Anglo with the objective of discovering their shared and conflicted selves. We will focus on the late 20th century fiction, poetry, and non-fiction prose of writers as diverse as N. Scott Momaday, Gary Snyder, Richard Hugo, James Welch, Leslie Marmon Silko, Thomas McGuane, and others. We should have a rollicking good semester of reading and discussion. We’ll write three 5-7 page essays and do some historical and contextual research.

ENG 233-001 MWF 1200PM-1250PM Phillips
LIT AND IDENTITIES READING THE SELF IN MODERN BRITISH LITERATURE

In this course, we will examine how a few writers were wrangling with the question of how to define the self during one of Britain's most chaotic and turbulent periods. We will primarily attend to literature from 1890-1930, a period when the church had lost much of its membership, when the British Empire was falling apart, and when World War I had cast the shadow of nihilism over Europe. In addition, British society was discussing differences in gender, race, sexuality, and nationality more openly than it had ever before, and these raised concerns about who gets to be counted as "British."

Five texts from this period will guide us through discussions of identity. We will begin with Wilde's The Picture of Dorian Gray (1890), which attends to the boundary that separates a real person from a fictional representation. Conrad's Heart of Darkness (1900) will blur the lines between civilized and primitive, between racial identities, and between Self and Other. Forster's Howards End (1910) asks whether it is possible to "only connect" when families carefully guard class identifications. In The Waste Land (1922), we see T. S. Eliot struggling to piece together identity in the aftermath of World War I. Finally, Woolf's To the Lighthouse (1927) will raise questions about artistic individuality and whether community is possible after the war. Writing assignments in this course will ask students to address issues such as these as well as larger questions that all of these texts raise: What does "self" mean during this period? What are the boundaries that separate Self from Other? How do the characters and personae of our texts construct their identities based on the shared solidarities of gender, race, sexuality, and nationality identification?

This course presumes students are new to the study of literature; as such, it is designed to be foundational for learning a vocabulary about literature, interpreting poetry and prose, and writing critically about literature.

ENG 234-001 TR 0800AM-0915AM
INTRO TO WOMEN'S LIT

ENG 234-002 MWF 1000AM-1050AM Fetters
INTRO TO WOMEN'S LIT Not Always in Sisterhood: Female Friendships & Women's Communities in American Literature

For this course, we will explore the changing nature of women’s friendships, from the turn of the 20th century into the 21st. Tracking the literary representations of female friendships in connection with the progressing women’s movement and shifting feminist movement, we will uncover the various ways in which these women writers experienced, represented and reproduced the bonds, or lack thereof, between women. Recognizing, as Pat O’Connor argues, that “friendship has been peculiarly distorted in Western culture by an ideology which both idealizes and limits it,” we will examine texts in which friendship is “idealized” and those in which the female characters are competitive, at best, destructive, at worst. The representative texts cover accounts of friendships between white, middle class women, working class women, and women of color, whose ideas about and representations of the bonding between women vary markedly. Beginning with early textual representations, the class will culminate in contemporary television programs which explicitly deal with groups of women “friends.”
Required Texts:
Charlotte Perkins Gilman, Herland
Mary McCarthy, The Group
Toni Morrison, Sula
Margaret Atwood, The Handmaid's Tale
Course pack with excerpts of writings by Sarah Orne Jewett, Edith Wharton, Louise Erdrich, Sandra Cisneros and Dorothy Allison
Select episodes of HBO’s Sex in the City, Showtime’s The “L” Word, ABC’s Desperate Housewives, HBO's Big Love, and excerpts from The Women of Brewster Place

ENG 234-003 MWF 0200PM-0250PM Oaks
INTRO TO WOMEN'S LIT

ENG 261-001 MWF 1100AM-1150AM Campbell, D
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 nonwestern 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.
This course is part of the Western Traditions cluster in the University Studies Program, and is writing-intensive, therefore satisfying the new Graduation Writing Requirement. Assignments include three major essays, three written peer reviews, and a requirement to turn in preliminary drafts of each of the essay.

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

This section of ENG 261 [Western Literature in Translation from the Greeks to the Renaissance] is a variation on the usual Distance-Learning courses at UK in that we shall meet face-to-face somewhere off-campus rather than interact via the online Blackboard program. In conjunction with a series of KET broadcasts/Young Library DVDs entitled Living Literature I: The Classics and You, students will read editions of their own choosing of (1) selections from Homer’s Iliad, Virgil’s Aeneid, and Milton’s Paradise Lost as well as of (2) the entirety of Sophocles’ Oedipus Tyrannus and Antigone, Chaucer’s “Wife of Bath’s Prologue and Tale” (from The Canterbury Tales), the anonymous Middle English poet’s Sir Gawain and the Green Knight, and Shakespeare’s Hamlet. Seven or eight quizzes (I choose the top six), one four-page note (involving an initial submission and subsequent draft), and one twelve-page short essay (involving an initial submission and subsequent draft). This course fulfills a UK Writing Initiative requirement.

ENG 264-001         TR 1100AM-1215PM        Schoenfeld
MAJOR BLACK WRITERS

According to the 1965 report of the U. S. Department of Labor, “The Negro Family: The Case for National Action,” the struggle of blacks in America to achieve equality is significantly hampered by irregularities (not to say deviance) in the black family structure. The report attributes these irregularities to the legacy of slavery. In this course, we will examine how several major black authors develop and express their own understandings of the legacy of slavery on the black family. These authors develop themes including: separation, reuniting, the challenges of limited employment opportunities to the integrity of the family, the taboo of race mixing and its violation, the strengths and challenges of matrifocal families, etc.

Main texts are likely to include:

        Wilson, Harriet. Our Nig

        Jacobs, Harriet. Incidents in the Life of a Slave Girl

        Harper, Frances. Iola Leroy

        Chesnutt, Charles. The Marrow of Tradition

        Morrison, Toni. Song of Solomon

        Butler, Octavia. Kindred

        Baldwin, James. Go Tell it on the Mountain

ENG 264-002 TR 1100AM-1215PM Schoenfeld
MAJOR BLACK WRITERS

Same as ENG/AAS 264-001.

ENG 264-003 TR 1100AM-1215PM Schoenfeld
MAJOR BLACK WRITERS

Same as ENG/AAS 264-001.

ENG 264-004 MWF 0900AM-0950AM
MAJOR BLACK WRITERS Major Black Writers: Space, Time, and Identity in African American Literature

Human existence plays out in four dimensions: three of space, and one of time. But as we try to live (rather than simply existing), space and time become the raw materials of our identities. They are sources of power, topics for argument, and reasons to live. Like everyone else, African American writers have had to address these questions, but often without the privileges that other Americans often take for granted. In examining the conceptions of space, time, and identity worked out by a selection of major black authors, this course will explore central themes of the African American literary tradition, such as migration, history, memory, and double consciousness. Students will also learn techniques of literary, textual, and historical analysis.

Likely texts: Gwendolyn Brooks, Maud Martha; Octavia Butler, Kindred; Ralph Ellison, Invisible Man; Ernest J. Gaines, The Autobiography of Miss Jane Pittman; Lorraine Hansberry, A Raisin in the Sun; Langston Hughes, Selected Poems; Harriet Jacobs, Incidents in the Life of a Slave Girl; Nella Larsen, Quicksand, Harryette Mullen, Sleeping with the Dictionary.

ENG 264-401 TR 0730PM-0845PM
MAJOR BLACK WRITERS

ENG 271-001 MWF 0900AM-0950AM
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, Raymond Brown's
Introduction to the New Testament, and will be taking a brief look at the recently publish gnostic Gospel of Judas.

ENG 281-001 TR 1100AM-1215PM Nadel
INTRODUCTION TO FILM

The purpose of this course is to examine a selection of films as a means of understanding and analyzing the thematic and stylistic aspects of films in general and as a way of examining how they are products of their specific cultural moment and circumstances. Focusing primarily on films in the classical Hollywood style, we will look at approximately a dozen movies (including The Wizard of Oz, Citizen Kane, Fresh, Modern Times, A Night at the Opera, Singin’ in the Rain, Blow-Up, The Graduate, His Girl Friday, North by Northwest, The Searchers) attending, within historically specific contexts, to the function of the production system, narrative structure, genre, mise-en-scene, cinematography, editing, and stylistic choice, in the creation and meanings of a cinematic work. Designated “writing-intensive,” the course requirements include two short papers and two moderate-length papers. There will also be a multiple-choice midterm and a multiple-choice final. The course requires attending screenings of film outside of class.

ENG 281-002 TR 1100AM-1215PM Nadel
INTRODUCTION TO FILM

Same as ENG 281-001.

ENG 281-003 TR 1100AM-1215PM Nadel
INTRODUCTION TO FILM

Same as ENG 281-001.

ENG 281-004 MWF 0100PM-0150PM James
INTRODUCTION TO FILM Cinema and War

ENG 301-001 TR 0200PM-0315PM Eldred
STYLE FOR WRITERS

In this lecture course, you will learn how to go from

"The bulk of this article is devoted to Silences, which makes sense since it is a book review of Olsen's collection of essays. Thus the middle four paragraphs delineate the ideas Olsen presents in Silences, parse her style, and offer commentary on the books relevance.

to

"This article, which reviews the collection of essays Silences, delineates Olsen's ideas, parses her style, and comments on the book's relevance."

English 301 will help you improve your own writing style and the style of others. It offers the luxury of one full semester devoted to sentences and sound. Editing is work that comes after drafting; if you focus too much on sentence level issues before writing, you may end up with a giant case of writer's block. This course will teach you some concepts to use when revising and editing your work. Grades will be based largely on exams, with ample opportunities for extra credit.

ENG 330-001 MWF 1100AM-1150AM James
TEXT AND CONTEXT: TOPIC Fitzgerald & the Jazz Age

ENG 330-002 MWF 1200PM-1250PM Oaks
TEXT AND CONTXT:19TH CENT POSTCOLONIAL NOVELS

“Taken literally, the term ‘postcolonial literature’ would seem to label literature written by people living in countries formerly colonized by other nations. This is undoubtedly what the term originally meant, but there are many problems with this definition.”
(“‘Postcolonial Literature’: Problems with the Term” by Paul Brians).

This course will engage texts which connect issues of nation-on-nation (or ethnic-on-ethnic) subjugation with those which involve the exploitation and colonization of women. I am especially interested in the ways fiction can articulate the reality of oppression and yet appeal to an audience looking for both sensation and vindication. Course texts will be selected from the following: Castle Rackrent (Maria Edgeworth), Frankenstein (Mary Shelley), Mansfield Park (Jane Austen), Jane Eyre (Charlotte Bronte), The History of Mary Prince (Mary Prince), Contending Forces (Pauline Hopkins), Life in the Iron Mills (Rebecca Harding), Our Nig (Harriet Wilson), Ramona (Helen Hunt Jackson). Major assignments include: one short and one long paper, a class presentation, and oral and written peer review. Students will be expected to participate joyously in class.

ENG 330-003 TR 1230PM-0145PM Zunshine
TEXT AND CONTEXT: THE NOVELS OF JANE AUSTEN & THEIR CINEMATIC ADAPTATIONS

The Novels of Jane Austen and Their Cinematic Adaptations.

They say that when philosopher Gilbert Ryle was asked if he ever read novels, he replied, “All six of them, every year.” He meant Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. In this course, we will read The Six and watch some of their screen versions. Our emphasis will be on Austen’s style and her construction of fictional consciousness.

ENG 330-004 TR 1100AM-1215PM Prats, AJ
TEXT AND CONTEXT: WAR POETRY

In a famous essay entitled “The Moral Equivalent of War” (1906), the great American philosopher, William James, attempted to explain the human ambivalence toward war by recourse to the following paradox, which he illustrated by recourse to the crucial chapter of American history:

Ask all our millions, north and south, whether they would vote now . . . to have our war for the Union expunged from history, and the record of a peaceful transition to the present time substituted for that of its marches and battles, and probably hardly a handful of eccentrics would say yes. Those ancestors, those efforts, those memories and legends, are the most ideal part of what we now own together, a sacred spiritual possession worth more than all the blood poured out. Yet ask those same people whether they would be willing, in cold blood, to start another civil war now to gain another similar possession, and not one man or woman would vote for the proposition.

As a pacifist, James was unique because, though he detested war, he understood deeply the allure that war has historically held for the young of every generation (and for the old men and women who so cheerfully send them off to war). He knew, then, that any effective effort to avert war in his time would have to offer the young a purpose, a mission—one to which they could unambiguously devote their lives, toward which they could direct their best energies with the same high zeal that they have heretofore reserved for war and the military (hence “the moral equivalent of war,” “the moral equivalent of war”).
This course proposes that the poetry of war, at its best, reflects with unsurpassed sophistication and complexity—with a terrible beauty, really—the paradox that James puts forth in his essay. The awesome emotions of war, the terrifying insights that it can produce, the anguished yet transcendent testimonies of those who experience it and write poetically about it—these find their highest and truest expressions not in history or in prose fiction or even in memoirs but in poetry. The poetry of war celebrates the glory of war, the honor of fighting in it, the palpable sense of shared purpose, of selfless sacrifice, of unbounded love of country. Yet the poetry of war also engages, and with undiminished assiduity and fervor, those other things about war—the dark and dread “things” that exist and unfold side by side with “duty, honor, country”—namely, war’s unspeakable horrors, its merciless degradations of the human spirit, its enforced surrenders to unimaginable cruelty, the remorseless (even tiresome) enactments of tragedy, of inconsolable and everlasting grief. Yet the poetry of war confronts these “things” almost mystically, at times even in a form that rescues and redeems the tragic from its finality. We will therefore study poetic testimony—the insight and the inspiration of those who refuse to betray their experiences to a norm, who recapture their humanity by confronting (humbly yet courageously) war’s unremitting inhumanity—rather than the poetry that merely conforms to cultural myths and breaks faith with the individual’s testimony only for the sake of perpetuating the self-delusions of nations.
We will use (for lack of a more comprehensive text) the Oxford Book of War Poetry and will supplement it with handouts of other poems, of essays, of fragments of books, and so on. In addition, partly as a sort of experiment, I would like to require a beautiful yet unassuming book—a participant’s account of the Second World War battles for Peleliu and Okinawa, With the Old Breed (by E. B. Sledge).
Requirements: steady attendance, class participation, a midterm oral report, a final paper.

ENG 330-005 TR 0330PM-0445PM
TEXT AND CONTEXT: TOPIC TBA-CHECK UKWEB

ENG 331-001 TR 0930AM-1045AM MacDonald
SURVEY OF BRITISH LIT I

ENG 331 is an introduction to the major works, authors and movements of British literature, from its beginnings through the seventeenth century. Since the course thus covers a very long time-span, students will concentrate on gaining a basic knowledge of these works and figures and the critical issues surrounding each of them. The context in which our works were written is essential to understanding the works, and so students will also be expected to master some knowledge of relevant historical, social, and intellectual backgrounds. Students will practice techniques of close reading, and develop a basic vocabulary of critical and literary terms. Short response papers, a midterm and a final.

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

This class will introduce you to British literary and cultural history from the cultivated world of the 18th century to the challenging terrain of post colonial literature. We’ll read many canonical texts to give you a sense of the central literary conversations of these periods, as authors were often in dialogue with each other, but there will be some surprises, too. For the sake of coherence and focus, the course is divided into two major units, one entitled “Identities: Gender, Class, and Race” and the other “Place and Nation.” Within and across these units, we will explore the ways in which individuals understood who they were and what their place was in society, and how the British nation and empire understood itself as a whole. We will rely mainly on literature, with a few forays into art history. You should gain a sense of the distinctive styles and concerns of individual periods as well as the larger trends stretching across period boundaries, as later writers extend, revise, and talk back to earlier writers. The second major goal will be to introduce you to some of the major schools of literary criticism. Although this is a large class, we’ll engage in discussions as well as lectures, both in regular class meetings and in break-out sessions most Fridays.

ENG 333-001 MWF 1100AM-1150AM Staff
STUDIES BRITISH AUTHOR OR AUTHORS: CHAUCER

ENG 333-002 TR 1230PM-0145PM Lewin
STUDIES BRITISH AUTHOR OR AUTHORS: MILTON

John Milton's poetry, prose and drama are among English literature's most radical and most memorable texts, both for their controversial and lasting formal innovations and for their original arguments about the relationship between poetic vocation and religious, scientific, and political truth. This course enables students to explore and appreciate Milton's work, its place in the academy today, and its decisive impact on the course of English and American literature. After reading early poems including Lycidas, we will spend the bulk of the semester immersing ourselves in the great epics Paradise Lost and Paradise Regained, ending with Samson Agonistes. Special attention will be paid to Milton's influences, as well as to the cultural climate in which he gained his fame. Other topics we will cover are genre, censorship and free speech, free will, and gender. Course requirements: weekly reading responses and a final research paper.

ENG 334-001 TR 0200PM-0315PM 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, Bradford, 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.

ENG 335-001 TR 1100AM-1215PM Trask
SURVEY OF AMER LIT II

ENG 336-001 MWF 1100AM-1150AM Reece
STUDIES AMER AUTHORS: NONFICTION LITERATURE: WALKING AND WRITING

This ambulatory course will look at a very specific kind of nonfiction—stories about walking. That’s right—walking. We will begin with Thoreau’s famous essay on the subject, then saunter through the towns of Prague, Oakland and Austin (TX), and the wildernesses of Yellowstone, the Adirondacks, and the Appalachian Trail, guided by writers such as Bill McKibben, Kinky Freidman, Ishmael Reed, Myla Goldberg, Tim Cahill and others. Oh yeah—we’ll take walks as well and write up those perambulations. So come to class with a good pair of shoes and an attentive eye.

ENG 336-002 MWF 1000AM-1050AM
STDS AMERICAN AUTHOR/S: TOPIC TBA-CHECK UKWEB

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.

Note: Students are required to attend screenings of the films outside of class, probably on Monday and Wednesday at 2:00 and 6:00.

ENG 395-001 TBA - Staff
INDEPENDENT WORK

ENG 401-001 MWF 0100PM-0150PM Reece
SPEC TOPICS IN WRITING: NATURE WRITING

ENG 407-001 W 0300PM-0530PM Finney
INTERM WKSP IMAG WRITNG: FICTION

ENG 407-002 W 0300PM-0530PM Vance
INTERM WKSP IMAG WRITNG: POETRY

ENG 407-003 R 0330PM-0600PM Marksbury
INTERM WKSP IMAG WRITNG: SCREENPLAY

Intended not so much as an introductory course but as a more intensive and ambitious intermediate level workshop, designed for students who are interested in launching, critiquing, and following through as far as possible on an extended project in this form. Working outwards from the bare bones of the individual “beats” and the isolated scene, we’ll try to build on that earliest connective tissue and develop a larger structure.
By the end of the semester, you’ll be expected to have nailed together the treatment for a feature-length screenplay and at least the first of the three acts which would comprise it. We’ll run sections of your writing through the workshop and you’ll be expected to revise, enhance, and polish it as much as possible.
Regular attendance, an openness to sincere and constructive criticism and a willingness to provide it are a must. In addition to the central writing project, we will examine a number of films which will serve as paradigms (viewings outside class) in terms of construction, tension and resolution, dialogue, character development, etc. I hope this will help us to think in more pragmatic terms of what screenplays can and cannot accomplish.

ENG 480G-001 MWF 1000AM-1050AM Foreman
STUDIES IN FILM: SHAKESPEARE & 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 TR 0200PM-0315PM Nadel
STDIES IN FILM: AMERICAN LIT & FILM OF THE 1950S

The purpose of this course is to examine American literature and films of the 1950s as products of the culture in which they were produced. We will examine the rhetorical and iconographic qualities of the works to see the ways in which they reflect some myths and assumptions of their culture and the ways, particularly, that they reflect conflicts relating to: social pressures to "conform," gender roles, race relations, and Cold War paranoia. The works that we will cover include the films The Ten Commandments, Lady and the Tramp, On the Waterfront, Rear Window, Rebel without a Cause, Pillow Talk, The Defiant Ones, the novels Lolita, Invisible Man, Catcher in the Rye, selected short stories by Flannery O’Connor, the play A Raisin in the Sun, poetry by Allen Ginsberg and Adrienne Rich, and essays by James Baldwin.
Requirements include a short paper, a research paper, a take-home midterm, and a final exam. Class participation is required.

ENG 481G-001 MWF 1000AM-1050AM Foreman
STUDIES IN BRITISH LITERATURE: SHAKESPEARE & FILM

See description for ENG 480G-001, above. (ENG 481G-001 and ENG 480G-001 are the same course.)

ENG 481G-002        TR 0930AM-1045AM        Kalliney
STUDIES IN BRITISH LITERATURE:    POSTWAR BRITISH LITERATURE AND MINORITY DISCOURSE

Why is contemporary British literature dominated by books about marginal groups? What do different oppositional texts have in common?  In this course, we will read a selection of working class, feminist, queer, celtic, and postcolonial novels, thinking about the ways in which contemporary fiction both relies upon and challenges the concept of marginality. We will examine the kinds of rhetorical positions and narrative strategies shared by this very diverse group of writers in order to consider "minorityness" as a trend in and function of postwar British cultural production. Furthermore, we will think about the stakes and implications of such a position: does marking oneself as an outsider announce an oppositional politics? What happens when minority literature becomes canonized or popular? Does its privileged status jeopardize its ability to explore systems of exclusion?

ENG 482G-001 TR 1230PM-0145PM Clymer
STUDIES AMERICAN LIT: THE AMERICAN 1850S

The 1850s witnessed an amazing burst of exceptional literary creativity. Traditionally, American writing from this decade has been labeled the “American Renaissance,” and Hawthorne, Melville, Emerson, Thoreau, and Whitman have been singled out as the coolest. Indeed, their writing is super-fine and we’ll dig it in this class. All the same, as literary scholars have been busily showing for the last 25 years, there’s a tremendous amount of other great writing going on in the 1850s that the traditional account of the “Renaissance” blithely, and to its sad impoverishment, simply ignores. For example, the nation’s about to blow apart because of slavery, and this small fact prompted a metric ton of great and meaningful literature by authors black and white. In the 1850s, writers were also all over the perennial issues of emotional intimacy, sexuality, and gender roles, and so we’ll check those out too. Not to mention that the U.S. is also thinking about taking over Cuba and other Caribbean countries in this decade. But this is just to name a few of the many issues to which we’ll be turning our collective eyes.

Likely primary texts include Herman Melville, Moby-Dick; Nathaniel Hawthorne, The Blithedale Romance; Susan Warner, The Wide Wide World; Frank Webb, The Garies and Their Friends; Fanny Fern, Ruth Hall; Walt Whitman, Leaves of Grass; George Thompson, Venus in Boston; Harriet Jacobs, Incidents in the Life of a Slave Girl; Martin Delany, Blake; Harriet Beecher Stowe, Uncle Tom’s Cabin

Grade will be based on a short historical research project, 7-page interpretive essay, midterm and final exam.

ENG 482G-002 TR 0200PM-0315PM Nadel
STDIES AM LIT: AMERICAN LIT & FILM OF THE 1950S

Same as ENG 480G-002.

ENG 483G-001 MWF 0100PM-0150PM
STDS AF/AM OR DIASPORIC LIT: TPC TBA-CHECK UKWEB

ENG 484G-001 TR 0930AM-1045AM Lewin
COMP STUDIES LIT: WORD & IMAGE FROM HOMER-ASHBERY

Excerpts from Homer and Virgil
Vasari, selections from Lives of the Artists
George Wither, A Collection of Emblemes (1635)
Lessing, Laocoon
Ruskin, selections from The Stones of Venice
John Hollander, The Gazer's Spirit
John Ashbery, "Self Portrait in a Convex Mirror"
Selections from William Blake, W. J. T. Mitchell, E. H. Gombrich, James Heffernan, Nelsom Goodman, Walter Benjamin, W. H. Auden, and Richard Howard

Throughout history the visual arts have been known as "silent poems" and the literary arts as "speaking pictures." These phrases suggest that the two arts complement each other, but often they when they come into contact, they clash and compete for dominance in terms of expressive power. Poets find that descriptions of paintings, for example, both illuminate their own virtues and eclipse them; paintings seem admirable and challenging but also threatening. In this course, we will examine the canonical, and some more obscure, literary texts and paintings that historically have defined this intriguing relationship. Written work for the course will consist of a series of short, biweekly assignments for which students will be asked to describe their own thoughts on the art they are seeing, and a long final paper. Frequently we will make use of both the collections in the UK Art Museum and the King Library's Special Collections.

ENG 487G-001 TR 0200PM-0315PM Blum
CULTURAL STUDIES: PSYCHOANALYSIS & CULTURE

What can psychoanalytic perspectives contribute to our understanding of cultural phenomena-practices, ideals, the contemporary stories of c 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.

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

English 507 Fiction 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. Writers will have a chance to present their own stories in a supportive workshop setting, giving and receiving thoughtful criticism. The goals of the course are to write more powerful and effective stories, to read published work with an eye for craft, and to experience a community of writers. English 207 and 407 are prerequistes for this class.

ENG 507-002 T 0330PM-0600PM Finney
ADV WKSHP IMAG WRITING: POETRY

ENG 507-003 W 0300PM-0530PM Norman
ADV WKSHP IMAG WRITING: AUTOBIOGRAPHY

English 507: AUTOBIOGRAPHY offers students an opportunity to tell to themselves and to others the stories of their lives. Some of our stories are brief, often humorous anecdotes drawn from personal and family memory. Other stories come from our deepest psychological and emotional sources. Not all of our life experiences are told or written as stories. Many students will want to just write of their thoughts, feelings, memories and experiences. Writing practices and discussions both in and out of class will aid the writer in shaping and refining the material.

All people are marked by their life experiences. Often we are not even aware of some of the marks. Personal narrative writing is one way that individuals can discover their hidden selves, thereby gaining self-knowledge. Students will be asked to bring to class 1000 words (three or four pages) per week and turn in three best effort narratives during the semester. Students must faithfully attend every class meeting.

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

ENG 519-001 MWF 0100PM-0150PM Staff
INTRO TO OLD ENGLISH

ENG 600-001 TR 1100AM-1215PM Staff
BIBLIO & METH OF RESEARC

ENG 617-001 TBA - Clayton
STUDIES IN LINGUISTICS: TESL PRACTICUM

ENG 622-001 TR 1230PM-0145PM MacDonald
STDS RENAISSANCE LIT: 1500-1660

This semester, ENG 622 will be subtitled "Women Writers of Tudor and Stuart England." The overarching subject of the class will be how women writers of the period wrote themselves into existing Renaissance literary modes, and how they achieved enunciative authority in the midst of a culture which typically reserved the privileges of eloquence for men. Thus, much of the course will be structured comparatively, discussing how women's Petrarchanism may have differed from men's, or whether and how women's means of fashioning their speaking selves differed from men's. Yet, much early modern women's writing follows forms which have no obvious "male" version, and so we will also spend some time learning to recognize and appreciate some of these apparently ephemeral literary modes on their own terms, and to grasp what they can tell us about the nature of women's literacy and women's authorship in the period. The course will include readings in Renaissance social history and literary criticism.

ENG 656-001 TR 0200PM-0315PM Schoenfeld
BLACK AMER LITERATURE: THE MULATTO IN AMERICAN FICTION

The mulatto balances precariously on the razor-thin edge of the color line between black and white. In the antebellum era, the mulatto’s proximity to whiteness made the mulatto an attractive object for Abolitionist sympathy. In the Jim Crow era, that proximity made the mulatto a threat to the security of white privilege. In our present moment, this figure has all but disappeared, though it seems to be re-emerging in a new form with Tiger Woods, Cablinasian; and Vin Diesel, “multiracial movie star.” Over the course of the term, we will:

Examine the relationship between the trope of the mulatto and historical contexts

Interrogate perceptions of race as a matter of clear, stable, and/or natural categories.

Explore the role of the individual in constructing his or her racial identity.

Consider the impact of gender, class, and color on the various representations of the mulatto.

A note about the reading: though this course is designated “Black American Literature,” as a racially liminal figure, the mulatto is of interest to writers on both sides of the color line and therefore invites us to blur canonical boundaries. In deference to the course heading, the majority of texts are by black authors (Chesnutt, Harper, Brown, Morrison), a few are by authors classed as black, who didn’t necessarily accept that classification (Larsen and Toomer), and a few are by white authors (Faulkner and Twain).

ENG 660-001 TR 0930AM-1045AM Zunshine
MODERN CRITICAL THEORY: INTRODUCTION TO COGNITIVE LITERARY STUDIES

This course focuses on one of the most exciting areas of research in contemporary cognitive psychology—Theory of Mind—and its implications for literary and cultural studies. You will be required to purchase two “theoretical” books, and I will provide you with a series of handouts. As to the primary texts, this will be largely a “Bring Your Own Books and Movies” course. It is advisable to have read Woolf’s Mrs. Dalloway and Nabokov’s Lolita before the beginning of the semester, but once the semester starts, you will be working with fictional narratives and movies of your choice from your respective areas of specialization. The course has three goals: to provide you with the vocabulary and conceptual framework for cognitive literary criticism; to come up with new readings of important texts in your respective areas; and to develop original interpretive frameworks that combine the new “cognitive” approaches with the more established theoretical models of literary/cultural analysis.

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

ENG 700-001 R 0330PM-0600PM Doolen
TUTORIAL PH.D.CANDIDATES

ENG 700-002 R 0330PM-0600PM Doolen
TUTORIAL PH.D.CANDIDATES

ENG 738-001 W 0300PM-0530PM Rosenman
SEM IN VICTORIAN LIT Things in Victorian Fiction

ENG 738: Things in Victorian Fiction

As one critic has said, 19th c. British realist fiction is defined, in part, by its "forensic attention" to the objects of daily life. This class will explore the many meanings of the ubiquitous things crammed into 19th British realist fiction: carriages, clothing, jewelry, letters, bank notes, art, heirlooms, clues to mysteries, markers of identity? What role do these objects play? How do they acquire symbolic significance? How does a character’s understanding of things as symbolic objects relate to the ways in which writers and readers do the same thing -- that is, the ways in which we understand realist fiction? How does the novel’s double status as unique art object and mechanically-reproduced commodity play out in discussions of the novel and within novels themselves? To approach these questions, we'll look at definitions of realism, Victorian and modern; at psychoanalytic, Marxist, and anthropological theories of fetishes; and at modern Thing Theory.

Our texts will include George Eliot's Adam Bede and probably another Eliot novel, Charles Dickens's Our Mutual Friend, Wilkie Collins's The Moonstone, Anthony Trollope’s The Eustace Diamonds, and others.

Assignments will include an in-class report, a short-ish paper (10 pp.), and a seminar paper (20-25 pp.), which will involve drafting and peer review.

ENG 740-001 T 0330PM-0600PM Kalliney
SEM 20TH CENT BRIT LIT THE BRITISH NOVEL, 1900-PRESENT: LITERARY LONDON

In The Politics of Modernism, Raymond Williams argues that there is a strong connection between Europe's leading intellectual centers, including Paris, Vienna, Berlin, and Moscow, and the rise of what we now call modernist culture. He uses the term "metropolitan perception" to describe the forces at work in this concentration of cultural production: such cities are large, chaotic, and impersonal, but the phrase also alludes to the fact that these cities are all imperial capitals. In this seminar, we'll use this idea of metropolitan perception to explore the special relationship between the British novel and London, the literary and imperial capital of a collapsing British empire. How do modernist novels understand metropolitan space? What happens to London when imperialism ends and former colonial subjects arrive as immigrants? How do modernist and contemporary literature represent, facilitate, or resist this transition? In addition to reading a wide range of novels from the past century, this course will also introduce students to some of the basic concepts in postcolonial theory through class discussion, secondary readings, and group projects.

ENG 751-401 W 0600PM-0830PM Clymer
SEM AMER LIT: 1800-1860 THE AMERICAN 1850S

The 1850s witnessed an amazing burst of exceptional literary creativity. Traditionally, American writing from this decade has been labeled the “American Renaissance,” and Hawthorne, Melville, Emerson, Thoreau, and Whitman have been singled out as the coolest. Indeed, their writing is super-fine and we’ll dig it in this class. All the same, as literary scholars have been busily showing for the last 25 years, there’s a tremendous amount of other great writing going on in the 1850s that the traditional account of the “Renaissance” blithely, and to its sad impoverishment, simply ignores. For example, the nation’s about to blow apart because of slavery, and this small fact prompted a metric ton of great and meaningful literature by authors black and white. In the 1850s, writers were also all over the perennial issues of emotional intimacy, sexuality, and gender roles, and so we’ll check those out too. Not to mention that the U.S. is also thinking about taking over Cuba and other Caribbean countries in this decade. But this is just to mention a few of the many issues to which we’ll be turning our collective scholarly eye.

Emphasis throughout will be on honing our skills at making sense of texts both historically and theoretically. Students are welcome to discuss this class with the professor beforehand or to hit him up for a reading list in order to do some advance scouting of the material over the summer.
Readings:
N.B. There will be reading material given out prior to the semester for discussion at our first meeting.

We will read a good deal of theoretically-informed literary criticism, historical material, and critical theory.

Likely primary texts include Herman Melville, Moby-Dick; Nathaniel Hawthorne, The Blithedale Romance; Susan Warner, The Wide Wide World; Frank Webb, The Garies and Their Friends; Fanny Fern, Ruth Hall; Walt Whitman, Leaves of Grass; George Thompson, Venus in Boston; Harriet Jacobs, Incidents in the Life of a Slave Girl; Martin Delany, Blake; Harriet Beecher Stowe, Uncle Tom’s Cabin

Grade will be based on an historical research assignment, 15-20 page paper, and class participation.

ENG 780-001 TBA - Staff
DIRECTED STUDIES

ENG/LIN 210-001 MW 0400PM-0515PM O'Hara
HIS OF 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 Cambridge Encyclopedia of the English Language. David Crystal,
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 College of Communications can satisfy their Language
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/LIN 210-401 MW 0600PM-0715PM O'Hara
HIS OF ENGLISH LANGUAGE

Same as ENG/LIN 210-001.

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

Same as ENG/LIN 210-001.

ENG/LIN 211-001 TR 0330PM-0445PM Guindon
INTRO 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 211-002 TR 0500PM-0615PM Guindon
INTRO TO LINGUISTICS I

Same as ENG/LIN 211-001.

ENG/LIN 211-003 TR 1100AM-1215PM Barrett
INTRO TO LINGUISTICS I

ENG/LIN 211-004 MWF 0900AM-0950AM Wheeler
INTRO TO LINGUISTICS I

ENG/LIN 211-005 MWF 1200PM-1250PM Wheeler
INTRO TO LINGUISTICS I

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

Same as ENG/LIN 211-001.

ENG/LIN 211-402 TR 0600PM-0715PM Wheeler
INTRO TO LINGUISTICS I

ENG/LIN 212-001 TR 0930AM-1045AM Bosch
INTRO TO LINGUISTICS II

ENG/LIN 212-002 MWF 0200PM-0250PM Bishop
INTRO TO LINQUISTICS II

ENG/LIN 512-001 TR 0200PM-0315PM
MODERN ENGLISH GRAMMAR

ENG/LIN/ANT 515-001 TR 1230PM-0145PM Bosch
PHONOLOGICAL ANALYSIS

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

LIN 317-001 TR 0200PM-0315PM Barrett
LANGUAGE & SOCIETY

LIN 319-001 MW 0400PM-0515PM 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.

LIN 517-001 TR 1100AM-1215PM Stump
SPECIAL TOPICS IN LINGUISTICS FORMAL SEMANTICS

This course is an introduction to modern, model-theoretic approaches to natural language semantics. We will examine a range of issues relating to the notions of meaning and truth in language; to the interface of semantics with syntax; and to the relation between semantics and pragmatics. Students will attend difficult but enlightening lectures, participate in thought-provoking discussions with their classmates, and submit several short but carefully reasoned written analyses of specific problems in the semantics of English. Topics to be covered include the relation of denotation to truth and meaning; quantification; speech acts and illocutionary force; conversational implicature; intensional constructions; indexicality; presuppositions; uses of lambda abstraction in semantic analysis; lexical meaning; and generalized quantifiers. The textbook will in all likelihood be the second edition of Gennaro Chierchia & Sally McConnell-Ginet's Meaning and Grammar: An Introduction to Semantics (MIT Press, 2000).
Prerequisite: An introductory course in linguistics or permission of the instructor.