Course Descriptions
AdvisingThe 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 Reece
BEGINNING WORKSHOP IN IMAGINATIVE WRITING: CREATIVE NON-FICTION
ENG 207-002 M 0300PM-0530PM Howell, Dan
BEGINNING WORKSHOP IN IMAGINATIVE WRITING: FICTION
ENG 207-003 W 0300PM-0530PM Howell, Rebecca
BEGINNING WORKSHOP IN IMAGINATIVE WRITING: Poetry
ENG 207-401 W 0600PM-0830PM Norman
BEGINNING WORKSHOP IN IMAGINATIVE WRITING: FICTION
English 207, Fiction, is an introductory course in imaginative writing. Students are asked to produce three polished stories during the semester. Weekly writing exercises designed to offer the student practice in all elements of short fiction are required. Students are also asked to read and discuss several stories by established writers. A very cool course.
ENG 230-001 MWF 1000AM-1050AM Freeman
INTRODUCTION TO LITERATURE Women and the Victorian Novel
Granting its citizens greater opportunities than any previous era in English history did, the Victorian period ushered in many political reforms. Women, however, remained markedly disadvantaged politically and socially throughout the period. This course will investigate various representations of women in the Victorian novel, particularly troublesome women who deviate, either intentionally or unintentionally, from socially prescribed norms of behavior. Characters and settings range from the working class to the leisure class and from the rural to the urban, tracing the very real limitations that literature's most famous heroines confronted. We will examine, for example, Marianne's impulsiveness (Sense and Sensibility), Hetty's solipsism (Adam Bede), and Tess's innocence (Tess of the d'Urbervilles). How do these qualities compel them to challenge or adhere to their social positions? What do these characterizations say about nineteenth-century attitudes toward women?
Along with selected poems from the period, we will read the following novels:
Austen's Sense and Sensibility (1811)
Bronte's Wuthering Heights (1847)
Eliot's Adam Bede (1859)
Dickens's Great Expectations (1861)
Hardy's Tess of the d'Urbervilles (1891)
ENG 230-002 TR 0930AM-1045AM Fetters
INTRODUCTION TO LITERATURE Gender and Genre: American Literature at the Turn of the 20th Century
This course examines the literature produced in America from the late 1890s to the early 1900s. We will explore the implications of gender, class and genre in a variety of literary texts published during this time period, with a special focus on three key literary movements of the time, traditionally identified as “realism,” “regionalism” (and local color), and “naturalism.” In addition, we will consider the ways in which these works address the cultural conflicts of their time (i.e., industrialism, the beginnings of a modern commodity culture, the economics of marriage and changing gender roles, class and racial politics), and we’ll look at the cultural, historical and biographical backgrounds out of which the texts emerge. As an introduction to literature, we will direct much of our attention to literary devices and techniques, such as narration, theme, point of view, structure and the like, as well as key literary terms. Requirements for the course will include one short paper and one longer final paper, a group assignment and presentation, midterm and final examinations. In addition to a short coursepack, which includes a brief selection of literary criticism, poetry and a few supplementary short stories, texts include:
Sarah Orne Jewett – The Country of the Pointed Firs
Henry James - The Turn of the Screw
Alice Dunbar Nelson – The Goodness of St. Rocque and Other Stories
Kate Chopin – The Awakening
Edith Wharton – The House of Mirth
Theodore Dreiser – Sister Carrie
ENG 230-003 MWF 1200PM-1250PM Boss
INTRODUCTION TO LITERATURE Working Class Fiction
English 230.003
Introduction to Literature: Working Class Fiction
In this course, we will read novels, poems, and short stories that address the life of the working class in America. We will discuss issues that face everyone required to work for a living. Some issues include the relationship between manager and worker, big business mentality, the gambling mentality required to survive an economy fueled by the stock market, the loss of agency, and the value of work. Because this is an introduction to literature class, we will also pay close attention to the formal qualities of the three genres previously mentioned. For instance, we'll analyze the structure, tone, diction, point of view, and theme for each work of literature.
Texts:
1. The Big Money—John Dos Passos
2. O Pioneers!—Willa Cather
3. Winesburg, Ohio—Sherwood Anderson
4. Wild Birds: Six Stories—Wendell Berry
5. The Shipping News—E. Annie Proulx
6. Peyton Place—Grace Metalious
7. What Work Is—Philip Levine
ENG 230-004 TR 0200PM-0315PM Bebensee
INTRODUCTION TO LITERATURE RADICAL DECADE: U.S. WRITING FROM THE 1960s
A survey of U.S. fiction, nonfiction, poetry, and drama from the 1960s: Edward Albee, Amiri Baraka, Gwendolyn Brooks, Joan Didion, Betty Friedan, Abbie Hoffman, Ken Kesey, Denise Levertov, Malcolm X, J.D. Salinger, Gore Vidal, Andy Warhol, Tom Wolfe. Two essays, two short writings, midterm, final.
ENG 230-005 MWF 0200PM-0250PM Floyd
INTRODUCTION TO LITERATURE Being a Man: Explorations of Masculine Identities
This course will explore changing understandings of what it means to be a man in different cultural contexts and across ethnic and class diversities. In addition to the texts below, we’ll read some gender theory on masculinity and consider areas such as sexuality, corporeality, performance and psychoanalysis. Writing assignments will ask students to use primary texts to support at argument, apply theory and explore their own understandings of masculinity in contemporary popular culture. The course will place a heavy focus on practicing the techniques of writing about literature.
Texts include:
“Othello” - William Shakespeare
If Beale Street Could Talk – James Baldwin
The Strange Case of Dr. Jekyll and Mr. Hyde – Robert Louis Stevenson
The Talented Mr. Ripley – Patricia Highsmith
Portnoy’s Complaint – Phillip Roth
The Fight Club – Chuck Palahniuk
We will devote some time to analyzing the film versions of these novels.
A Coursepack, available from Johnny Print, will include short stories from Ernest Hemingway and Sherwood Anderson as well as chapters from Susan’s Bordo’s The Male Body, Elaine Showalter’s Sexual Anarchy and other contemporary theory on masculinity.
ENG 230-006 MWF 0100PM-0150PM Carter
INTRODUCTION TO LITERATURE Banned Books
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 230-007 MWF 0900AM-0950AM Steele
INTRODUCTION TO LITERATURE From Mill to Manor—Experiences of Industrial and Rustic Lives in 19th c. Britain
This class has for its main concerns the tropes of city and country in Victorian Britain—and understanding what it meant to cross the divide from the city’s edge into the country. Such an exploration will allow us to look at place not only as a physical space but also as embodying a specific experience (of religious identity, of national identity, of gendered identity, and of bodily awareness). Who will we find lurking in the alleys of London versus the hills of Flintcomb-Ash? Some of the specific questions we will be exploring are: How does experience in the city and in the country create competing national identities? What transformations occur when one crosses the boundaries between city and country? What affect did roaming one space rather than the other have on the physical body? Texts for the course will include (tentatively): Jane Austen’s Pride and Prejudice, Charles Dickens’ Great Expectations, Charlotte Brontë’s Shirley, Elizabeth Gaskell’s Mary Barton, Anthony Trollope’s The Way We Live Now, and Thomas Hardy’s Tess of the d’Urberville’s. We will also supplement our study with segments from Henry Mayhew’s London Labour and the London Poor, as well as criticism by Catherine Gallagher, Elizabeth Helsinger, Deborah Nord and others. The grade for this course will reflect participation, short journal assignments (several one page reactions), a group assignment, one short paper (5 pages), and one longer final paper (10 pages).
ENG 230-401 TR 0600PM-0715PM Hopson
INTRODUCTION TO LITERATURE Contemporary American Women Writers and the Short Story
In this course we will examine fictional works by contemporary American women writers as diverse as Dorothy Allison, Toni Cade Bambara, Cherrie Moraga, and Lee Smith. The works will be examined in a socio-historical context with attention paid to the social, political and cultural climate in which the writings took shape, as well as to content, narrative strategy, modes of representation, and authoritative identity and voice. One of the aims of the course is to further develop your ability to read, understand, and write meaningfully about literature in general. By the end of the course you should be able to analyze and compare literature by women of differing racial, ethnic, regional, and cultural backgrounds, as well as identify and analyze major themes and literary strategies employed by each writer.
Dorothy Allison TRASH
Tillie Olsen TELL ME A RIDDLE
Toni Cade Bambara GORILLA, MY LOVE
Sandra Cisneros WOMAN HOLLERING CREEK
Cherrie Moraga LOVING IN THE WAR YEARS
Lee Smith ME AND MY BABY VIEW THE ECLIPSE
Alice Walker IN LOVE & TROUBLE: STORIES OF BLACK WOMEN
ENG 231-001 TR 1230PM-0145PM Simon
LITERATURE AND GENRE 20th Century American Drama
In this course we will study the history and modes of American drama from early plays in the 1900s through the 1990s. The semester will begin with learning the appropriate terminology for understanding drama as well as the various traditional forms of drama. We will review the history of drama in America, but will focus on the drama of the twentieth century because it evolves into a more complex art form that focuses on distinctly American issues. We will examine how American drama develops through various literary movements such as realism, expressionism, and surrealism. We will also explore the various themes that concern twentieth-century American playwrights, particularly race, gender, and class. Playwrights we will examine may include Glaspell, O’Neill, Odets, Williams, Miller, Baraka, Shange, Hwang, and Kushner.
ENG 231-002 MWF 1100AM-1150AM Purdue
LITERATURE AND GENRE Gothic Literature
Terror, mystery, diabolical villains, castles with secret passageways, blood-curdling apparitions—you’ll find it all in the novels we will read together this semester. This course will explore the rise of the gothic genre in 18th-century British literature as well as its continuation into the 19th century. We will cover staples of the gothic genre like The Castle of Otranto and The Monk in addition to some lesser-known works like Zofloya. We may also view a film or two, including Coppola's adaptation of Dracula (1992). Texts will include:
Horace Walpole’s The Castle of Otranto (1764)
Ann Radcliffe’s The Mysteries of Udolpho (1794)
Matthew Lewis’ The Monk (1796)
Charlotte Dacre’s Zofloya (1806)
Jane Austen's Northanger Abbey (1818)
Joseph Sheridan Le Fanu’s Carmilla (1872)
Bram Stoker’s Dracula (1897)
ENG 232-001 MWF 1200PM-1250PM Salmons
LITERATURE AND PLACE Appalachia
This course is designed to introduce students to both canonical and contemporary Appalachian literature. Key themes that emerge from a closer study of Appalachian literature include a sense of regionalism, a community-based culture which centers on the presence of the family, and a strong oral history tradition. Appalachian people are closely bound to their land, to their communities, and to their immediate family because until after the advent of modernization these connections were all they had; with several miles of hard traveling between homes and towns, isolation became a way of life for mountain people, but not one they disparaged. They were self-reliant farmers who knew how to use the land to earn a living, but they were not interested in exploiting it for profit. The works by Norman, Davis, and Stuart will introduce these themes, and they will demonstrate the Appalachian author’s focus on character development as well as depictions of landscape. The novels by Giardina, Rash, and McCrumb will demonstrate the changes and the damage wrought by industrialization. As the mountain people’s agrarian, independent lifestyles were disrupted by industrialization, native Appalachians were faced with new conflicts, including economic distress and the conflict of modernity and tradition. Eller’s text will be used throughout the semester to provide historical background and contextualization.
Students will engage in literary analysis through class discussion and through writing the required essays. Attentive daily reading and participation in class discussion is expected. This course will serve to fulfill the second tier of the University Writing Requirement; as such, all students will be required to compose a minimum of 15 pages, to be composed of a comparative book review and a literary analysis. Students will also participate in a group presentation, in which they will offer a brief biography of the author, a review of the work’s critical reception and impact, an introduction of key themes, and an introduction to a secondary article relevant to each novel.
Texts include:
Jesse Stuart, Hie to the Hunters
ISBN: 0945084595
Rebecca Harding Davis, Life in the Iron Mills and Other Stories
ISBN: 0935312390
Gurney Norman, Kinfolks
ISBN: 0917788109
Denise Giardina, Storming Heaven
ISBN: 080410297X
Sharyn McCrumb, She Walks These Hills
ISBN: 0451184726
Ron Rash, One Foot in Eden
ISBN: 0312423055
Ronald D Eller, Miners, Millhands and Mountaineers: The Industrialization of the Appalachian South, 1880-1930
ISBN: 0870493418
ENG 233-001 MWF 1100AM-1150AM Rogers-Carpenter
LITERATURE AND IDENTITIES The Case of the Missing Character
In each of the texts listed for ENG 233, a central character is missing. This absence drives the plot, revealing the identity and motives of other characters as they seek, remember, and sometimes reinvent the missing person. Together, the class will explore how writers like Virginia Woolf and Margaret Atwood keep their readers’ attention when the main character is not even there. Often the missing character in these stories also signals a disruption in the family, the community, or society. As a class, we will consider the social, historical, and political tensions connected to such disruptions, along with what they reveal about race, gender, and class difference.
Course requirements
A midterm exam, a final exam, one four-page paper, one 12-page paper, two short written responses, and two group presentations.
Required texts
Joseph Conrad’s Heart of Darkness (1902)
Susan Glaspell’s Trifles (1916)
Virginia Woolf’s Jacob’s Room (1922)
William Faulkner’s As I Lay Dying (1930)
Sylvia Plath's Ariel (1965)
Douglas Turner Ward’s Day of Absence (1966)
Toni Morrison’s Beloved (1987)
Bobbie Ann Mason’s In Country (1985)
ENG 234-001 MWF 1100AM-1150AM Oaks
INTRODUCTION TO WOMEN'S LITERATURE
ENG 234-002 TR 0800AM-0915AM Barrio-Vilar
INTRODUCTION TO WOMEN'S LITERATURE Twentieth-Century American Women Writers
This course focuses on fiction written by twentieth-century American women of various ethnic backgrounds. We will discuss how these writers reflect on the idea of what it means to be a woman in the U.S. in different historical, social, and cultural contexts. We will consider how not only gender but also race, class, culture, age, and sexuality determine their individual and collective identities. Our discussions will hinge on questions such as the following: How do these writers define womanhood? Do all women writers necessarily have a feminist agenda because of their gender? Do American women writers feel connected to one another regardless of their background? Does their fiction promote or challenge the idea of a universal sisterhood? What do they all have in common? What differentiates them? How do they speak about their male counterparts?
List of readings:
Edith Wharton’s Summer (1917)
Alice Childress’s Like One of the Family (1956)
Maxine Hong Kingston’s The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1976)
Sandra Cisneros’s The House on Mango Street (1986)
Cynthia Ozick’s The Shawl (1989)
Paula Gunn Allen’s Spider Woman’s Granddaughters: Traditional Tales and Contemporary Writing by Native American Women (1990)
Janet E. Gardner’s Writing about Literature: A Portable Guide (2004)
Selection of critical essays
Course requirements: Participation in class discussions, three papers (5-6 pages), several drafts, a midterm and a final exam, among other assignments.
This course may be used in fulfilling a requirement for the WS Minor or WS Topical Major.
ENG 234-401 MW 0600PM-0715PM Christine Luft
INTRODUCTION TO WOMEN'S LITERATURE contemporary women warriors
This course will examine the development of American women’s literature and its role within popular culture. In addition to examining the changing role of women in relation to work, sexuality, and identity, the course will explore the development of strong female characters that define a new 20th century woman – the woman warrior. Texts include:
Flaming Iguana’s -- Erica Lopez
Woman Warrior -- Maxine Hong Kingston
Joy Luck Club -- Amy Tan
Prodigal Summer or Poisenwood Bible -- Barbara Kingsolver
Ahab’s Wife -- Sena Jeter Naslund
ENG 262-001 MWF 1000AM-1050AM Campbell
D WESTERN LITERATURE 1660 TO PRESENT
Course Description for English 262 for Spring, 2006
Diane Campbell, instructor
English 262 surveys Western World literature from the Enlightenment to the present, focusing upon works of great literary merit which represent main elements in the evolving western culture. In this course we will engage the ideas and examine the evolving world view of these three hundred years, relating our discussions to our own ideas and values. This course satisfies the new Graduation Writing Requirement, and therefore involves drafting, instructor review and peer review. It also satisfies some University Studies program requirements. There will be three papers, totaling 15 pages, minimum.
ENG 262-201 T 0600PM-0830PM Wilke
WESTERN LITERATURE 1660 TO PRESENT
ENG 264-001 TR 0930AM-1045AM Schoenfeld
MAJOR BLACK WRITERS
This course introduces students to African-American literature through a consideration of questions of canon and community formation. Though not every text we will read self-consciously addresses these issues, the class will concentrate on ways in which African-American writers position their texts in relation to an emerging body of artistic work by other African-Americans, as well as in relation to the dominant culture. We will discuss, for example, debates about the criteria by which African-American artistic production should be judged, considering the relationship between, and relative importance of, aesthetics and politics, as well as questions of assimilation and distinctiveness.
Main texts are likely to include:
• Equiano, Olaudiah. The Interesting Narrative in the Life of Olaudiah Equiano
• Harper, Frances. Iola Leroy
• Washington, Booker T. Up From Slavery
• DuBois, W.E.B. The Souls of Black Folk
• Larsen, Nella. Passing
• Morrison, Toni. Beloved
We will also read short stories, essays, and poetry by such authors as Langston Hughes, Gwendolyn Brooks, Zora Neale Hurston, Charles Chesnutt, Jean Toomer, Sonia Sanchez, and others.
ENG 264-002 MWF 0900AM-0950AM Staff
MAJOR BLACK WRITERS
ENG 264-003 MWF 0100PM-0150PM Staff
MAJOR BLACK WRITERS
ENG 264-004 MWF 0200PM-0250PM Fairfield
MAJOR BLACK WRITERS
English 264: Major Black Writers
Course Description: 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, Reconstruction, the Harlem Renaissance, the Jim-Crow Era, and Contemporary Thought. In addition to reading the literary texts, we will spend time discussing their historical and cultural contexts. Class requirements include three exams, three essays (5pp each), and regular class participation.
Douglass, Fredrick. Narrative of the Life of Frederick Douglass
Jacobs, Harriet. Incidents in the Life of a Slave Girl
Griggs, Sutton. Imperium in Imperio
Larsen, Nella. Passing
McKay, Claude. Home to Harlem
Hurston, Zora Neale. Jonah's Gourd Vine
Wright, Richard. Uncle Tom's Children
Baldwin, James. Blues for Mr. Charlie
Jones, LeRoi. Dutchman and The Slave
Walker, Alice. Meridian
Wilkinson, Crystal. Water Street
ENG 264-401 M 0600PM-0830PM Dathorne
MAJOR BLACK WRITERS
ENG 270-001 MWF 0900AM-0950AM Reside
THE OLD TESTAMENT AS LITERATURE
This course will approach the Old Testament from a literary rather than devotional perspective. We will examine the possible origins, literary stuructures, and aesthetics of the 39 books in the Hebrew Old Testament (with a brief look at the Greek apocraphya). Students should be willing and able to respectfully and civilly participate in controversial discussions. We will use the Oxford Student Edition of the New Revised Version of the Bible and a supplemental text to be announced later.
ENG 281-001 MWF 1200PM-1250PM Hendricks
INTRODUCTION TO FILM
This course is a basic introduction to the art form of film. We will study movies from a wide range of categories including silents, talkies, American and foreign films, various genres, periods, and styles. We shall also consider the basic elements of filmmaking such as editing, directing, cinematography, music and acting. Each week we will focus on a specific film for viewing and discussion. Grading will consist of three papers, midterm and final exams, group presentations, and viewing quizzes.
Text: Corrigan, Timothy and Patricia White. The Film Experience: An Introduction. New York: Bedford St. Martin’s 2004.
Film List:
The Birth of a Nation (D.W. Griffith, 1915)
The General (Buster Keaton, 1927)
Singing in the Rain (Stanley Donen, 1952)
Citizen Kane (Orson Welles, 1941)
Rashomon (Akira Kurosawa, 1950)
The Seventh Seal (Ingmar Bergman, 1957)
Vertigo (Alfred Hitchcock, 1958)
Bonnie and Clyde (Arthur Penn, 1967)
2001: A Space Odyssey (Stanley Kubrick, 1968)
Easy Rider (Dennis Hopper, 1969)
The Godfather (Francis Ford Coppola, 1972)
Do the Right Thing (Spike Lee, 1989)
Pulp Fiction (Quentin Tarantino, 1994)
American Beauty (Sam Mendes, 1999)
City of God (Fernando Meirelles and Katia Lund, 2002)
ENG 281-002 TR 1230PM-0145PM Staff
INTRODUCTION TO FILM
ENG 281-003 MWF 1000AM-1050AM Colleen Glenn
INTRODUCTION TO FILM
This course will introduce students to the medium of film by exposing students to a variety of genres, historical periods, directors, and national origins. The course is designed so that students will gain a broad perspective of the historical, cultural, and formal elements of film. We will view and discuss a movie each week. Grading will include midterm and final exams, presentations, quizzes, and papers.
Text: Corrigan, Timothy and Patricia White. The Film Experience: An Introduction. New York: Bedford St. Martin’s 2004.
Film List (Subject to Change):
The Birth of a Nation (D.W. Griffith, 1915)
The General (Buster Keaton, 1927)
City Lights (Charlie Chaplin, 1931)
Stagecoach (John Ford, 1939)
Citizen Kane (Orson Welles, 1941)
The Maltese Falcon (John Huston, 1941)
Rashomon (Akira Kurosawa, 1950)
The Seventh Seal (Ingmar Bergman, 1957)
Vertigo (Alfred Hitchcock, 1958)
Bonnie and Clyde (Arthur Penn, 1967)
2001: A Space Odyssey (Stanley Kubrick, 1968)
Easy Rider (Dennis Hopper, 1969)
The Godfather (Francis Ford Coppola, 1972)
Do the Right Thing (Spike Lee, 1989)
Pulp Fiction (Quentin Tarantino, 1994)
Y Tu Mama También (Alfonso Cuarón, 2001)
Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
ENG 306-001 MWF 0900AM-0950AM Morley
INTRODUCTION TO PROFESSIONS IN WRITING
This course introduces students to rhetorical studies, advanced composition, and research in rhetoric and composition. The course aims to begin preparation for careers in the teaching of writing in secondary schools, two- and four-year colleges, Teaching English as a Second Language (TESOL), as well as in publishing and freelance writing. Prereq: Fulfillment of the University Writing Requirement.
ENG 330-001 TR 1230PM-0145PM Blum
TEXT AND CONTEXT: FILMING HENRY JAMES
ENG 330-002 MW 0300PM-0415PM Hayes
TEXT AND CONTEXT: WITCHCRAFT TRIALS
In this course, we will be investigating how the witchcraft trial is represented in various literary and cultural contexts. The texts we will be studying will include medieval and early modern trial documents, Renaissance witchcraft plays, Ester Forbes’s novel A Mirror for Witches, Caryl Churchill’s play Vinegar Tom, Arthur Miller’s The Crucible, and poetry by contemporary women writers such as Anne Sexton and Sylvia Plath. Evaluations for the course will be based on written work (5 one-page response papers, a midterm paper of about 5 pages, and a final of about 7 pages), leading class discussion (with a partner or group), your "acting troop" performances, class participation, and reading quizzes (which are unannounced).
ENG 330-003 TR 0930AM-1045AM MacDonald
TEXT AND CONTEXT Brave New World: The Tempest in an Age of Discovery
Shakespeare’s late romance, The Tempest, is about an aristocrat who leaves his home and sets out to establish a new social order on an island inhabited only by a subhuman creature and his mother, whom he subdues by magic. The play is commonly dated 1611, which places it four years after the founding of the first successful English colony in the New World, at Jamestown. In this section of English 330, “Brave New World: The Tempest in an Age of Discovery,” students will set out to understand Shakespeare’s play as a special kind of document from the age of exploration and colonization by reading it among the rich accounts left by the first English settlers of the New World, who often thought of themselves as engaged in the work of taming the land and subduing or assimilating its inhabitants. A second important kind of context will be provided by studying other Renaissance and classical texts about the possibilities of finding a “brave new world” and what it could be like. A third set of documents will be later fictional and dramatic works which set out to revise Shakespeare’s original vision of a chance to start civilization over again: Davenant’s The Enchanted Island(1667), Aime Cesaire’s A Tempest (1985), and Fred Wilcox’s science fiction film, Forbidden Planet (1956). Two papers, midterm, and final exam.
ENG 330-004 MWF 1000AM-1050AM Campbell
W R TEXT AND CONTEXT:
WOMEN OF THE CIVIL WAR
The class will study the roles of women, North and South, in the years including and closely surrounding the American Civil War. Starting with Harriet Beecher Stowe's "Uncle Tom's Cabin" and using Nina Silber's "Union Women" and Drew Gilpin Faust's "Mothers of Invention" as guides, we shall read widely in letters, journals, diaries, memoirs, poetry, and fiction, all by and about women of the era. Special attention will be given to Stowe, Harriet Jacobs, Harriet Tubman, Mary Chesnut, Clara Barton, Augusta Jane Evans, Kate Stone, and Phoebe Yates Pember, though students will be free to investigate and write upon related subjects of their own choosing. Requirements include three medium length essays, two examinations, and regular attendance.
ENG 330-005 MWF 1200PM-1250PM Oaks
TEXT AND CONTEXT: FRANKENSTEIN
ENG 331-001 TR 0930AM-1045AM Lewin
SURVEY OF BRITISH LITERATURE I
We will be reading five texts and spending a great deal of time with each of them: Chaucer's The Canterbury Tales, Spenser's Faerie Queene, Shakespeare's Twelfth Night and King Lear, and Milton's Paradise Lost. This course has a simple and challenging goal: to familiarize students with the major writers of the English Renaissance and the poetic forms in which they wrote beautiful and memorable works. Our primary focus will be on mastering the vocabulary and techniques of literary study, learning to appreciate and make meaningful observations about Medieval and Renaissance poetry and drama. There will be 3 papers, two exams, and occasional take-home exercises or in-class assignments.
ENG 332-001 TR 1230PM-0145PM Allison
SURVEY OF BRITISH LITERATURE II From the age of Dryden to the 20th century
Survey of British Literature from the late 17th century to the 20th century, including (1) the satires of Dryden, Pope, and Swift, (2) Romanticism, from the 1780s to the early 19th century, (3) the Victorians, (4) Moderns and Modernism, (5) Contemporary Literature since 1950. Not only English voices but also Irish (Swift, Yeats, Heaney), Scottish (Burns, Robert Louis Stevenson) and Welsh (Dylan Thomas), with lots of poetry, a play, and some novels. Emphasis on close reading, literary style, social and historical backgrounds. Exploring the literature using various critical and theoretical methods, including postcolonial criticism. Written requirements: quizzes, mid-term exam and several essays.
ENG 333-001 TR 0200PM-0315PM Zunshine
STUDIES IN BRITISH AUTHORS: APHRA BEHN & JOHN DRYDEN
In this course we will read a generous selection of plays, poems, and short prose pieces of Aphra Behn (1640?-1689) and John Dryden (1631-1700), whose wit and inventiveness both reflected and shaped the sparkling Restoration period (1660-1700) of the English literature. We will watch some plays, perform bits of others, and learn about politics, science, tastes, and smells of the late seventeenth-century London.
ENG 333-002 MWF 1100AM-1150AM Hayes
STUDIES IN BRITISH AUTHORS: ANONYMOUS AUTHORS OF MEDIEVAL LITERATURE
In this course, we will critically examine how readers conceive of the anonymous author figure behind medieval writings. How does not knowing an author's identity change our reading of a text? Why? Texts covered will include Beowulf, works by the Pearl-poet, The Cloud of Unknowing, works spuriously attributed to Chaucer, and selected medieval cycle plays. Evaluations for the course will be based on written work (5 one-page response papers, a midterm paper of about 5 pages, and a longer final paper of about 7 pages), class participation, "acting troop" performances, leading class discussion (with a partner or group), and reading quizzes (which will be unannounced).
ENG 333-301 MTWRF 1000AM-0230PM Foreman
STUDIES BRITISH AUTHORS: BRITISH AUTHORS ALOUD
NOTE: This course will be taught in the wintersession, not in the Spring 2006 semester.
Designed specifically to take advantage of the peculiarities of the wintersession format, this course is founded on the notion that reading aloud is a way into a capacious understanding and appreciation of literature, particularly in genres designed for oral presentation (poetry and drama). To read someone's poem as if you knew what it meant is a great start toward finding out what in fact it does mean, as is hearing other people read as if they knew what they meant by what they read. We will also look at how different oral performances find different meanings in the same works. Authors to be studied will include Shakespeare, Jonson, Donne, Hardy, Yeats, and Dylan Thomas. There will be short written exercises due for every class meeting, as well as in-class work, which will include reading aloud. (Grades will measure the diligence and intelligence and sensitivity of students' work, but not their ability as "actors.") (Note: There will be a daily half-hour break for lunch at noon.)
ENG 334-001 MWF 1100AM-1150AM Marksbury
SURVEY OF AMERICAN LITERATURE 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 MWF 0900AM-0950AM Marksbury
SURVEY OF AMERICAN LITERATURE II
A survey of American literature running from the Civil War (we'll start with Whitman) to the near-present (we'll probably finish with the David Mamet play Glengarry Glen Ross). The emphasis will be on major authors and fiction, with forays into Southern and African American writing. Texts include The Norton Anthology and Don DeLillo's White Noise. Close readings and connections between the texts across time will be stressed as we try to balance forms as various as the novel, the short story, the poem, the essay--and possibly the film. Expect plentiful reading, heated discussion, and three take-home exams.
ENG 336-001 TR 0200PM-0315PM Reece
STUDIES IN AMERICAN AUTHORS: NONFICTION LITERATURE
This course will examine the way place, history, tradition and politics inform the nonfiction writing of five Kentuckians. We will examine Wendell Berry’s Sex, Economy, Freedom and Community, Bobbie Ann Mason’s Elvis, Barbara Kingsolver’s Small Wonders, Guy Davenport’s The Hunter Gracchus, and Ed McClanahan’s Famous People I Have Known. Writing for the course will be split into critical essays about these writers as well as students own attempts at creative nonfiction.
ENG 336-002 TR 0200PM-0315PM Schoenfeld
STUDIES IN AMERICAN AUTHORS: TONI MORRISON
Pleasurable doesn’t seem like a word that would apply to the harrowing story of a mother who kills her child rather than allow her to be enslaved. Yet Toni Morrison, consummate artist and Nobel laureate, writes prose so beautiful that it makes it possible to describe reading such a story as, in some sense, pleasurable, even as it deepens the powerful and sometimes painful effect of her words. In this class we will read all of Morrison’s novels, some of her short fiction, and some of her critical work. We will discuss the craft involved in the creation of Morrison’s stunning prose, Morrison’s position relative to both American and African American literary canons, as well as the themes of Morrison’s literature, including (but not limited to): race, gender, and love (familial, amorous, platonic and, perhaps most importantly, self).
ENG 336-301 MTWRF 1000AM-0230PM Oaks
STUDIES IN AMERICAN AUTHORS: JAMES AND WHARTON
ENG 340-001 TR 1100AM-1215PM MacDonald
SHAKESPEARE
ENG 340 is a survey of the length and breadth of Shakespeare’s career. Students will study plays from each of Shakespeare’s dramatic genres-- comedy, history, tragedy, and romance—as well as some of his nondramatic poetry. Besides looking at individual works in depth, the course is also designed to help students develop a sense of how Shakespeare experiments with and adapts the rules of each genre. Although both are romantic comedies, how might the very early Three Gentlemen of Verona anticipate the more mature Much Ado About Nothing, for example, and how does Twelfth Night depart from both of them? Our main text, The Norton Shakespeare, will be supplemented by selected readings from Russ McDonald’s Bedford Companion to Shakespeare and by viewing of various film adaptations of Shakespeare’s works. Frequent quizzes and short response papers; two exams.
ENG 382-001 MWF 0100PM-0150PM Marksbury
HISTORY OF FILM II
Picks up where we left off--post-1941, after Citizen Kane. Attention to genres (noir, the "women's picture," the western, the "problem picture," horror, and science fiction, the musical), the so-called Golden Age of the studio system in the 40s/50s--and its sudden fragmentation in the 60s. Special attention to American films of the early 70s.
We'll also try to deal extensively with foreign film, looking at movies from Italy (Fellini and probably Antonioni), France (New Wave, particularly Godard and Truffaut), Japan (Kurosawa and maybe Ozu), Sweden (Bergman) and Germany (Fassbinder).
Two film viewings a week (outside class). The text will remain A Short History of the Movies. Look for a wide variety of films, lively discussion, and 3 exams.
ENG 395-001 TBA - Staff
INDEPENDENT WORK
ENG 401-001 TR 1230PM-0145PM Kendall
SPECIAL TOPICS IN WRITING: WRITING A TRACEABLE LIFE
"Nationality is a narration, a story which people tell about themselves in order to lend meaning to their social world." (Uri Ram)
"Each artifact and person involved in a framed activity has a continuing biography, that is, a traceable life (or the remains of one) before and after the event, and each biography ensures a continuity of absolute distinguishableness, that is, selfsameness." (Erving Goffman)
ENG 401 undertakes to question and explore the discursive processes by which identities, whether national, regional, institutional or individual, assume their unified aspect. That is, this course takes seriously the notion that nations, regions, institutions and people are narrated into being, and suggests that the histories we write and the stories we tell are interpretive constructs which, in turn, give rise to what I'm calling "traceable lives."
The course thus aims to investigate the rhetorical nature of writing traceable lives, of composing "history," to examine the ways in which writing about the past necessarily writes that past into our present and future understanding of the world(s)in which we live. Central concerns for the course are: what motivates the composition of history (read: the discursive arrangement of separate and finite events into a unified whole) and how do the (hi)stories we compose shape the meanings we make of our lived experiences? Throughout the term, we'll ask questions like: What counts as history?; Whose stories matter and why?; How do events gain "historic" significance and how are historical events then used, recycled, and/or referenced in various textual contexts and for various persuasive purposes? Engaging with both print and film texts, we will try to complicate our understanding of recovery and reconstruction, truth and interpretation, authenticity and authority, memory and imagination. The course culminates in a final project where students will write themselves into the history of UK, a recognition of the ways in which our very presence in this university community cannot help but commend us to its institutional past, present and future history.
Texts for the course will be selected from the following options: The Things They Carried (Tim O'Brien); Everything is Illuminated (Jonathan Safran Foer); Paradise (Toni Morrison); With Their Eyes: September 11th and the View from a High School at Ground Zero (Annie Thoms, Ed.); Oral History: A Novel (Lee Smith); Little (David Treuer); Orlando: A Biography (Virginia Woolf); The Passion (Jeanette Winterson). Films for course will be selected from the following options: Run Lola Run; Eternal Sunshine of the Spotless Mind; Hero; Memento.
ENG 401-002 MWF 0100PM-0150PM Roorda
SPECIAL TOPICS IN WRITING: WRITING SCIENCES
The world is changing, they say--faster each day. If this is so (how would you tell? on what evidence, by what methods?), it’s so by dint of the sciences. Though varied in objects and practices (genes, quarks, speciation, neuroreceptors, microcircuitry and so on, incessantly), the sciences are alike in one obvious respect: they circulate through writing. No science is oral or gestural; none resides in objects alone; all are inscribed. This course in writing is devoted to exploring how this happens.
This is not a class in science writing in the professional sense (lab reports, grant proposals, peer-reviewed articles with a dozen co-authors), still less in technical writing. It is concerned rather with the ways of science, the things scientists do, the methods they ply, the knowledge they make, how that’s ventured, tested, represented, contested, dramatized and spread through writing. Participants in the course will read science writing of a popularized sort, informational and essayistic, writing both by scientists and about them, to come to terms with how such writing works, how it hangs together and moves, what it entails. We will sample methods devised and issues raised by practitioners of “science studies,” such as senses in which science may be said more to construct than discover its knowledge, and in what social contexts, through what instruments and practices. Among other things, we’ll pay some attention to nature writing, that genre where sciences and memoir collide, to varying effect. Finally, most signally, we will try such writing out--especially through tagging along with scientists, in field and lab, observing their work and, as far as possible, engaging in it: making something of it.
ENG 407-001 T 0330PM-0600PM Finney
INTERMEDIATE WORKSHOP IN IMAGINATIVE WRITING: FICTION
ENG 407-002 W 0300PM-0530PM Finney
INTERMEDIATE WORKSHOP IN IMAGINATIVE WRITING: POETRY
ENG 480G-001 TR 0330PM-0445PM Blum
STUDIES IN FILM: SEXUALITY AND CINEMA
ENG 482G-001 TR 1100AM-1215PM Trask
STUDIES IN AMERICAN LITERATURE: CAMP AS A GENRE
Here are some assumptions about camp that most observers take as given:
1. Camp is about the collision of high culture and mass culture.
2. Camp means drag queens.
3. Camp is failed art--and, perhaps more importantly, the reveling by the observer in such failure.
4. Camp is "over the top," exaggeration, excess anything.
5. Camp is a sensibility that keys itself to appreciating, or emphasizing, incongruities and dissonances (of gender roles, of cultural levels, of aesthetic achievement).
6. Camp is gay.
7. Camp is a tendency or a notion rather than a program or movement. No one can set out to be camp; it either happens or it doesn't. It is ephemeral rather than sustainable. You either get it or you don't.
These are fairly standard aspects of camp that many of us can recognize, even as one of our goals will be to question or put pressure on them. Here are some more esoteric or arcane features of camp that might be worth our attention as we proceed through this class.
1. Camp is distinctly modern even though many instances of camp tend to look nostalgic or retrograde or antimodern (its obsession with religious icons, for example). These apparent attitudes are in fact what distinguishes camp's modernity.
2. Camp is extremely interested in figures of death and morbidity. Dying turns out to be one of camp's great themes.
3. Camp art implies a crucial ambivalence toward religious and moral systems, and by extension toward the general experience of belief. Camp at times appears as a critique of religiosity, a celebration of religiosity, or both at once.
4. Camp needs a "normal" sensibility that it can provoke or disgust. For there to be a camp sensibility there must come into existence a critical mass of people who are deeply disturbed by any willful display of individual difference or idiosyncracy, particularly when such difference is self-consciously exaggerated. Camp is thus not only the apotheosis of a forceful Western ideology--that of individualism, which modern culture has historically held sacred--but also what gives the lie to, exposes the real limits of, this ideology.
5. Camp is about the surface of things. It has no interest in depth-psychology, refuses depth and essence. For camp the surface is the essence.
6. Formally, camp is most concerned with issues of juxtaposition--the adjacency of unlike, disparate, or incompatible persons, situations, and things.
7. Camp is primarily a visual rather than a discursive phenomenon; camp often calls to mind how odd or bad or ridiculous things look. By the same token camp is much more interested in performances and actions than in textual matters, more keyed to theater than to bookishness.
8. Camp might be seen as a highly coded form of communication--and, by extension, to partake of the sort of membership or group discrimination that any code implies. In this regard camp appears elitist rather than demotic, minoritarian rather than universal, exclusive rather than inclusive.
9. If camp had a grammatical analogue, it would have to be quotation marks. Something is never camp; it's always "camp."
10. The idea of camp propels people to compose lists of what camp might be.
In this class we shall essay the challenging terrain of "camp," asking what if anything distinguishes this mode from humor or irony or satire. We shall pay particular attention to questions of sexual dissidence, to camp's affiliation with modern (and post-modern) society, and to questions of aesthetic value in general.
Some of the texts we'll probably read:
Oscar Wilde and Aubrey Beardsley, SALOME
Djuna Barnes, LADIES ALMANACK
Gertrude Stein, AUTOBIOGRAPHY OF ALICE B. TOKLAS
Frank O’Hara, LUNCH POEMS
Evelyn Waugh, THE LOVED ONE
Tennessee Williams, SUDDENLY LAST SUMMER
Andy Warhol, THE PHILOSOPHY OF ANDY WARHOL
John Waters, SHOCK VALUE
Robert Gluck, MARGERY KEMPE
Thom Gunn, BOSS CUPID
Susan Sontag, "Notes on Camp"
Daniel Harris, "The Death of Camp"
David Sedaris, BARREL FEVER
Valerie Solanis, SCUM MANIFESTO
And these films we'll most certainly screen:
Sandra Bernhard, WITHOUT YOU I'M NOTHING
John Cameron Mitchell and Stephen Trask, HEDWIG AND THE ANGRY INCH
Todd Haynes, POISON
John Waters, FEMALE TROUBLE
Todd Solondz, WELCOME TO THE DOLLHOUSE
Andy Warhol, CHELSEA GIRLS
Then, too, there is virtually no doubt we'll analyze visual art by:
Andy Warhol, Joseph Cornell, Joe Brainard, Larry Rivers, Cindy Sherman, and others
Writing Requirements
Two (5pp) papers; one longer paper (10pp). One-page exercise/response paper on a camp artifact of your choosing.
Requirements other than the papers
There are several film screenings that will take place at night. Though presence at these screenings isn’t strictly mandatory, actually seeing the films (“Female Trouble,” “Chelsea Girls,” “Welcome to the Dollhouse,” "Without You I'm Nothing," and “ Poison”) absolutely is. Please do all the reading. Please attend all sessions. While the occasional absence is unavoidable, more than two “misses” will count against you.
ENG 484G-001 MW 0300PM-0415PM Dathorne
COMPARATIVE STUDIES IN LITERATURE: BLACK WORLD LITERATURE
ENG 485G-001 MWF 0100PM-0150PM Hayes
STUDIES IN LITERATURE AND GENDER: SEX & GENDER IN MEDIEVAL LITERATURE
This course will engage students in theoretically-informed readings of medieval texts that interrogate cultural constructions of sex and gender. We will study a variety of Anglo-Saxon and Middle English texts including Beowulf, The Dream of the Rood, saints’ lives, women’s devotional literature, the Pearl-poet’s Cleanness, and Julian of Norwich’s Showing of Love. We will also explore the wide-ranging career of the German mystic, Hildegard of Bingen. Evaluations will be based on written work (a series of one-page response papers and a final paper), class participation, and leading discussion.
ENG 507-001 T 0330PM-0600PM Norman
ADVANCED WORKSHOP IN IMAGINATIVE WRITING: FICTION
Gurney Norman's Short Story School is a place for story writers and story tellers to meet regularly and practice their arts. The emphasis is on story writing, but learning to tell a few tall tales, folk tales, and personal anecdotes will be useful to aspiring fiction writers. Students will be asked to do weekly writing exercises both in and out of class. These exercises are designed to give the student writer practice in the basic elements of fiction, including character development, story structure, dialogue, and scene development. Students are expected to produce three best-effort, polished stories or personal narratives during the semester. We will read and discuss representative short stories by noted writers, including Raymond Carver, Alice Walker, Bobbie Ann Mason, A. B. Guthrie, Jr., Louise Erdrich, Ernest Gaines, and many others. Students will be invited to read their work aloud in class for practice and for gentle critique by fellow students. PREREQUISITE: ENGLISH 207.
ENG 507-002 W 0300PM-0530PM Vance
ADVANCED WORKSHOP IN IMAGINATIVE WRITING: POETRY
ENG 507-003 R 0330PM-0600PM Edwards
ADVANCED WORKSHOP IN IMAGINATIVE WRTNG: FICTION
Course Description: Advanced Workshop in Imaginative Writing—Fiction
This is an advanced undergraduate/graduate seminar designed to explore the writing of fiction, especially the short story. Students will focus on deepening their mastery of the essential elements of fiction, including imagery, voice, character, setting, the use of language, and narrative form. Revision will be an important part of this class: we will look at early drafts of a story as a kind of landscape, and we will practice archeology on that landscape, unearthing the vital bones and artifacts, assembling and reassembling the pieces, until the story emerges in its full form and takes on vibrant life. Since writing and reading are a symbiotic pair, each informing the other, we will also take a close, analytical look at published work, seeking to understand the forms and unravel the process of creation. The class will be organized as a writing workshop. You will have a chance to present your own work, and you will also have the opportunity to critique the work of your peers. You will be expected not only to take your own writing seriously, but also to give fair, constructive, and helpful feedback to the other students in the class. English 207 and 407 are prerequisites for this class.
ENG 601-001 M 0300PM-0530PM Bordo
ESSAYS & CREATIVE NONFICTION: WRITING PRACTICUM
Students must enroll under the WS 600-001 class.
This course is designed for graduate students who are interested in writing for readers outside their disciplines/areas of specialization and/or for a public beyond (but not necessarily excluding) academia. Although there will be some assigned readings, the course will focus on exercises to help us develop clarity, honesty, individuality, and pleasure in our writing, and to practice genres of writing (e.g. Op Ed and magazine pieces, book proposals, public speaking) aimed at audiences outside our areas of academic expertise. Learning to translate our scholarly expertise into more public forms of discourse will be one central dimension of the course. Other topics to be explored, both in discussion and through writing practice, will include: incorporating personal experience in our writing, figuring out what matters most to us to accomplish through our work, the difference between "trade" and academic presses and what they each expect/require, the importance of sharing, feedback and revision, and overcoming "writer's block" and other anxieties about writing.
To enable us to work closely together, enrollment will be strictly limited, and as of this date no spots are open. However, spots may open up. If you have not already received permission from Dr. Bordo to take this course and wish to be considered for the practicum, please submit a writing sample and/or statement demonstrating your commitment to the goals of the practicum. Also include the following information: your department, main areas of interest, and what you'll be doing in the spring (e.g.preparing for quals, writing proposal, working on dissertation,taking courses, etc.) Email to Bordo@uky.edu or put materials in Bordo mailbox in 108 Breckinridge Hall.
First meeting in Breckinridge 111.
ENG 631-001 TR 1100AM-1215PM Zunshine
STUDIES IN ENGLISH LITERATURE: 1720-1780 Lying Bodies of the Enlightenment
This course takes as its starting point the proliferation of liars (and also masks and masquerades) in eighteenth-century fiction to consider the following questions: 1) The eighteenth century is credited with developing what we consider today a recognizably modern novel, that is, a novel attuned in subtler ways to the psychology of its characters and readers and capable of representing the unprecedentedly nuanced interpersonal consciousness. What is the relationship, then, between the fictional obsession with identifying liars in one’s social environment and the emergence of this new “psychological” novel? 2) Given the popularity, in the eighteenth-century, of non-fictional treatises on the body language associated with faking one’s emotions on stage, what is the relationship between the theatrical and the novelistic treatments of lying? Moreover, what went into the construction and regulation of this special public space in which pretence was permitted and encouraged? A tentative reading list includes Defoe’s Roxana, Haywood’s Love in Excess, Burney’s Cecilia, Rousseau’s Emile, and Holcroft’s Hugh Trevor; excerpts from David Garrick’s An Essay on Acting in which will be considered the Mimical Behavior of a certain Fashionable Faulty Actor (1744), Aaron Hill’s The Act of Acting (1746), and John Hill’s The Actor; A Treatise on the Art of Playing (1750); and selected critical works.
ENG 638-001 W 0300PM-0530PM Rosenman
STUDIES IN VICTORIAN LITERATURE: GEORGE ELIOT
George Eliot was one of the most complex and contradictory of 19th century authors: a quintessential Victorian (a proponent of high seriousness, social conscience, and duty) and a proto-modernist (a public intellectual, a cosmopolitan, an architect of the public sphere); a scarlet woman living in sin and "the Madonna" to her disciplines, in recognition of the public moral authority of her novels. Reading all of Eliot's novels, several of her essays, and some biographies, we will combine close reading with a wider mapping of some central issues of Victorian culture, including the intersection of class and gender in the construction of the ever-rising middle class, the representation of the deep interiority that becomes the essence of selfhood in the period, the rise of commodity culture, and the professionalization of authorship.
Assignments include weekly response papers, a shorter paper (10-ish pages), a longer paper (20-25 pp.), class discussion, and a lot of reading. If you don't like huge Victorian novels, this class is not for you.
ENG 653-001 TR 0200PM-0315PM Trask
STUDIES IN AMERICAN LITERATURE SINCE 1900 POSTMODERNISM
This class will discuss the emergence of postmodernism as both theory and practice, object and category of analysis, within the domains of literary and social thought, visual arts, architecture, and cultural geography. We shall pay close attention to the competing versions of postmodernism extant within academic and popular discourse, as well as to the advantages and liabilities associated with doing cultural studies from the point of view of postmodern theory as opposed to the older critical methods, paradigms, and orientations it seeks to dislocate. Students interested in social theory, interdisciplinary approaches, gender and sexuality, or any combination of these topics are strongly encouraged to apply. Here is a list of the works we shall in all likelihood examine.
Perry Anderson, Origins of Postmodernity
Anthony Giddens, The Consequences of Modernity
Edward Soja, Postmodern Geographies
Jean-Francois Lyotard, The Postmodern Condition
Mike Davis, City of Quartz
Robert Venturi, Complexity and Contradiction in Architecture
Fredric Jameson, Postmodernism, or the Cultural Logic of Late Capitalism
David Harvey, The Condition of Postmodernity
Philip K. Dick, Ubik
Nicholson Baker, The Mezzanine
Donna Haraway, “A Manifesto for Cyborgs”
Baudrillard, America
Ada Louise Huxtable, Unreal America
Andy Warhol, Philosophy of Andy Warhol
Cindy Sherman, A Retrospective
Barbara Kruger, Remote Control
Gary Indiana, Three Month Fever
Octavia Butler, Lilith’s Brood
Ridley Scott, Blade Runner
John Waters, Female Trouble
Assignments include weekly response papers, a seminar paper (20pgs.), class discussion, and some very dense reading. While a background in theory is not necessary, an interest and willingness to read it carefully are essential.
ENG 656-001 W 0930AM-1200PM Pierce
BLACK AMERICAN LITERATURE
Slavery and the Development of the African American Literary Tradition
By reading 18th, 19th, and 20th century texts, this course will use the rubric of slavery to chart the development of distinct genres in the African American literary tradition. While some attention will be paid to slave narratives, we will spend much of our time talking about the emergence of other literary forms, including: poetry; the jeremiad and sermon tradition; protest writings; the autobiography; the novel; devotional writing; historical fiction; and drama. Do these literary forms have African origins for black writers? To what extent does the Western literary canon impact these black writers? What stylistic and thematic concerns are revealed by a particular genre’s engagement with slavery and slave culture? What connections can we draw between the early writings of slavery and the later (largely fictional) material? The course will be equally divided among the 18th, 19th, and 20th/21st century texts. Come prepared to do interdisciplinary work grounded in literary criticism, historical analysis, and ethnographic research.
ENG 691-001 TBA - Eldred
READINGS IN RHETORIC: CONSULTING PRACTICES
ENG 700-001/2 TR 1230PM-0145PM Prats
AJ TUTORIAL PH.D.CANDIDATES
ENG 722-001 R 0330PM-0600PM Lewin
SEMINAR IN RENAISSANCE STUDIES: SPENSER'S FAERIE QUEENE
ENG 740-001 TR 0930AM-1045AM Allison
SEMINAR IN 20TH CENTURY BRITISH LITERATURE British Poetry and Modernism
A study of the poetic modernism of Yeats, Eliot, Pound and Mina Loy and the responses of the thirties generation (Auden, MacNeice, Spender) to varieties of High Modernism and the impact of modernity. Consideration of the poetry in light of transatlantic friendship and collaboration. Requirements include oral reports, one shorter and one final research paper. Texts to include:
W. B. Yeats, The Poems
T.S. Eliot, The Annotated Waste Land with Eliot's Contemporary Prose (ed. Lawrence Rainey)
T.S.Eliot The Waste Land: Facsimile and Transcripts
Selected Poems of Ezra Pound
Literary Essays of Ezra Pound
Mina Loy, The Lost Lunar Baedeker
Selected poems and prose of H.D., Auden, MacNeice, Spender, MacDiarmid
ENG 751-401 M 0600PM-0830PM Doolen
SEMINAR IN COLONIAL LITERATURE American Historical Fiction, 1820-1840
Following the U.S. defeat of England in the War of 1812, often referred to as the “Second American Revolution,” American historical fiction became a national sensation. One of the main reasons for historical fiction’s popularity was its intense self-consciousness about the instability of national identity. This course will focus on a range of historical fictions from 1820 to 1840. Over the course of these two tumultuous decades, historical fictions of colonial crises and revolutionary struggles served as touchstones for the national conversation about a changing American identity. We will pursue some fundamental questions: How do we define American historical fiction? Why was it so popular during this period? How do we read historical fiction “in its own time”? What is the relationship between past and present in these narratives? Authors that we will be reading include, among a few others, James Fenimore Cooper, Catherine Sedgwick, Edgar Allan Poe, William Gilmore Simms, and Nathanial Hawthorne. Our goal will be to take away a complex understanding of this crucial period of American literary history. To this end, we will incorporate a broad range of historical and theoretical materials into our study of historical fiction. Requirements include an annotated bibliography and seminar paper (15 pages).
ENG 780-001/2 TBA - Staff
DIRECTED STUDIES
ENG 781-001 R 0930AM-1200PM Nadel
SEMINAR IN FILM: COLD WAR FILM
Invoking an array of non-fiction documents, this course will examine over a dozen American films as products of cold war culture, manifesting and/or perpetuating and/or responding to the multifarious aspects of “containment,” such as: McCarthyism, the nuclear family, atomic anxiety, brainwashing, juvenile delinquency, homophobia, normative gender roles, espionage, and desegregation. Among the films we will discuss are: Rebel without a Cause, The Searchers, Invasion of the Body Snatchers, On the Waterfront, The Court Jester, Blackboard Jungle, The Manchurian Candidate, The Man Who Knew Too Much, The Defiant Ones, You Gotta Stay Happy, Blackboard Jungle, In a Lonely Place, North by Northwest, Return of the Jedi, and Lady and the Tramp, Dr Strangelove.
Students will be required to do an in-class presentation analyzing a movie poster or print-ad, do a short analytical writing assignment and a seminar paper (c. 6000 to 8000 words). They will also have to view the films outside of class and attend three evening lectures by guest lecturers.
ENG/EDC 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 at the following email address:
jwilliamson@ft-thomas.k12.ky.us
ENG/LIN 210-001 MW 0400PM-0515PM O'Hara
HISTORY OF ENGLISH LANGUAGE
ENG/LIN 210-401 MW 0600PM-0715PM O'Hara
HISTORY OF ENGLISH LANGUAGE
ENG/LIN 210-402 TR 0600PM-0715PM O'Hara
HISTORY OF ENGLISH LANGUAGE
ENG/LIN 211-001 TR 0330PM-0445PM Guindon
INTRODUCTION TO LINGUISTICS I
This course will introduce and explore the forms and structures of human language, how they are similar, how they are recorded, and how they can change over time. Significant sections of the course will cover:
–human speech sounds and how they are used (Why, for instance is 'blaps' a possible English word, but not 'bspla'? Why is the 's' at the end of 'leaves' actually pronounced as a 'z'?)
–word-formation (Why can we form 'reality' out of 'real + ity' and 'sanity' out of 'sane + ity', but not 'happity' out of 'happy + ity?)
–sentence structure (Why is 'pretty women and horses' ambiguous? How are the two phrases in 'looking sharp, looking for love' different?)
Students can expect daily homework assignments designed to enable them to understand linguistic forms, and to deduce linguistic structures by applying methods of structural analysis to data drawn from a variety of languages. Test formats will generally be based on the homework.
ENG/LIN 211-002 TR 0500PM-0615PM Guindon
INTRODUCTION TO LINGUISTICS I
This course will introduce and explore the forms and structures of human language, how they are similar, how they are recorded, and how they can change over time. Significant sections of the course will cover:
–human speech sounds and how they are used (Why, for instance is 'blaps' a possible English word, but not 'bspla'? Why is the 's' at the end of 'leaves' actually pronounced as a 'z'?)
–word-formation (Why can we form 'reality' out of 'real + ity' and 'sanity' out of 'sane + ity', but not 'happity' out of 'happy + ity?)
–sentence structure (Why is 'pretty women and horses' ambiguous? How are the two phrases in 'looking sharp, looking for love' different?)
Students can expect daily homework assignments designed to enable them to understand linguistic forms, and to deduce linguistic structures by applying methods of structural analysis to data drawn from a variety of languages. Test formats will generally be based on the homework.
ENG/LIN 211-003 MW 0300PM-0415PM Clayton
INTRODUCTION TO LINGUISTICS I: LINGUISTICS FOR TEACHERS
If you are a student in a teacher education program, and if you are required to take an Introduction to Linguistics course, this class is for you. We will cover the same material as other ENG / LIN 211 classes, and students will thus gain familiarity with morphology (word structure), phonetics (speech sounds), phonology (sound structure), syntax (sentence structure), and historical linguistics. However, we will then apply what we learn about language to pedagogical practice. Of course, an understanding of linguistics will benefit language teachers – both those who teach foreign languages to native English speakers, and those who teach English to speakers of other languages. But how might knowledge of morphology be helpful to science teachers, or syntax to those who teach speakers of nonstandard varieties of English? How might teachers use phonetics and phonology in the classroom? Prereq: None. Student of all majors are welcome, though our focus will be on Linguistics for Teachers. Contact Tom Clayton (tmclay@uky.edu) for more detail.
ENG/LIN 211-401 MW 0530PM-0645PM Guindon
INTRODUCTION TO LINGUISTICS I
Guindon
This course will introduce and explore the forms and structures of human language, how they are similar, how they are recorded, and how they can change over time. Significant sections of the course will cover:
–human speech sounds and how they are used (Why, for instance is 'blaps' a possible English word, but not 'bspla'? Why is the 's' at the end of 'leaves' actually pronounced as a 'z'?)
–word-formation (Why can we form 'reality' out of 'real + ity' and 'sanity' out of 'sane + ity', but not 'happity' out of 'happy + ity?)
–sentence structure (Why is 'pretty women and horses' ambiguous? How are the two phrases in 'looking sharp, looking for love' different?)
Students can expect daily homework assignments designed to enable them to understand linguistic forms, and to deduce linguistic structures by applying methods of structural analysis to data drawn from a variety of languages. Test formats will generally be based on the homework.
ENG/LIN 212-001 MWF 1000AM-1050AM Staff
INTRODUCTION TO LINGUISTICS II
ENG/LIN 212-002 TR 0330PM-0445PM Lauersdorf
INTRODUCTION TO LINGUISTICS II
ENG/LIN 310-001 TR 1100AM-1215PM Bosch
AMERICAN ENGLISH
ENG/LIN 617-001 TBA - Clayton
STUDIES IN LINGUISTICS: TESL PRACTICUM
ENG/LIN/ANT 516-001 TR 1230PM-0145PM Stump
GRAMMATICAL ANALYSIS
This course deals with the application of linguistic theory to the morphological, syntactic, and semantic analysis of natural languages. A variety of typological differences among languages are discussed, and a framework for describing these differences is developed; in addition, language universals of several kinds are investigated, and various recent attempts at explaining the existence of these universals are evaluated. Throughout, there is a heavy emphasis on analyzing linguistic data from languages other than English.
This course will include a “lab” component: several class periods will be devoted to the elicitation and transcription of linguistic data from one or more speakers of a foreign language; these data will provide the basis for several written assignments in which students will develop their own original grammatical analyses. (Some of the languages that have been the focus of the lab component in past years are Amharic, Bambara, Berber, Chichewa, Kikuyu, Lingala, Luganda, Malayalam, Tamil, Telugu, Twi, and Uyghur; members of this spring’s class should expect something comparably “exotic”.)
The textbook will be Paul Kroeger’s Analyzing Grammar (Cambridge University Press, 2005).
ENG/LIN/EDC 514-001 MW 0500PM-0615PM Clayton
TESL MATERIALS & METHODS
Are you interested in travel? Living in another country? Getting to know people, cultures, and languages from around the world? You can do all these things as an English Language Teacher. And you can take an important step toward becoming an English Language Teacher by completing this class. We will discuss historical and contemporary methods of language teaching. We will examine books and other curricular materials used in English language classrooms. There will be chances to observe English language classes and to learn from teachers in UK’s Center for English as a Second Language and other programs. Finally, there will be ample opportunity to practice teaching in simulated classroom settings. Prerequisites: None. Class is open to undergraduates and graduates in English, linguistics, educational policy studies, foreign language pedagogy, and similar fields. Contact Tom Clayton (tmclay@uky.edu) for more detail.
LIN 317-001 MW 0400PM-0515PM Guindon
LANGUAGE & SOCIETY: PIDGINS AND CREOLES
This course will explore the various outcomes of language contact, particularly pidgins and creoles. We will examine various theories (from past and present) of pidgin/creole origins, the languages which have contributed the most to the creation of pidgins and creoles in the past few centuries, how the structures of pidgins and creoles differ from those of languages with a more natural birth, and what the development and structures of these languages may be able to tell us about human cognition.
The primary readings for the course will be from An Introduction to Pidgins and Creoles, by John Holm, Cambridge textbooks in Linguistics, Cambridge University Press, 2000. Students should expect to take frequent quizzes throughout the semester.
LIN 318-001 TR 0200PM-0315PM Rouhier-Willoughby
SEMANTICS AND PRAGMATICS
LIN 395-001 TBA - Staff
INDEPENDENT WORK
LIN 521-001 TR 0930AM-1045AM Stump
SANSKRIT II
The purpose of this course is to allow students who have completed LIN 520 (Sanskrit I) to pursue a deeper understanding of the Sanskrit language. The Sanskrit literary traditions will be thoroughly surveyed and representative texts from each of several chronological strata of Old Indic will be translated and discussed; these texts will include selections from the Rig Veda, the Satapatha Brahmana, the Nalopakhyanam, the Bhagavad Gita, Kalidasa’s Meghaduta, and other texts. The course will also include an investigation of the relation between Sanskrit and Proto-Indo-European, with specific reference to those characteristics of Proto-Indo-European grammar reflected in Sanskrit and to those innovations which distinguish the Indo Iranian languages from other subgroups of Indo European.
The textbooks for the course will be William Dwight Whitney's Sanskrit Grammar and Charles Rockwell Lanman's Sanskrit Reader.
Students will prepare a number of Sanskrit texts (drawn mainly from Lanman's reader) for class discussion; in addition, students will turn in written translations and grammatical analyses of four short texts.
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