Current Course Offerings

Spring 2021

ENGL 1363-001—The Myth of the American West

TTh 3:30-4:50. Heroy  153.  Weisenburger.        2012: CA1, HC1   2016: CA, HC                 CC: CA, CAA

Our studies take up a long and bloody record of settlement in the trans-Mississippi West—a history of land grabs, Indian wars, outlawry and bravado; of ranch, railroad, town, and state building—and how they became the stuff of legend and myth. That process began in 19th century American popular culture, and continues today. We study the substance and uses of these legend- and myth-making efforts; and ask why western mythmaking flourished in the modern period (1900 to 1960), well after the frontier was settled.  We begin with three case studies: first, the story of Texas immigrant Cynthia Ann Parker’s captivity among the Comanche, retold for decades in multiple media; second, Deadwood Dick, a classic of “Dime Novel” western storytelling; third, a biography of Buffalo Bill Cody, a late-19th century international celebrity —“The Last of the Great Scouts.” We also study 20th century classics of western fiction and film, art and photography from the modern period, and conclude with the “revisionist Western” that, after 1960, upends The Standard Myth—of borderland spaces, horse culture, white manhood and violence, as they play out in various print and visual media.

 

ENGL 1380-001— Introduction to Literature: From Stone Tablets to Hypertext

TTh 9:30-10:50. Heroy Hall 153.  Wilson.                 2012: CA1     2016: CA   CC: CA, CAA

How can we think of literature as technology? From Ashurbanipal’s massive library of stone tablets in the 7th century BCE to modern digital literature projects aiming to teach computers to “read” a million texts, books have had a hold on our collective imagination. Every age has experimented to find the perfect “text technology” to share new ideas, to inspire, to challenge the status quo, and to dream. In this course, we’ll encounter a series of books ranging from stone engravings and Medieval manuscripts to early printed books, experiments in visual poetry printing, and Instapoets, each of which represents an innovative way in which people have “upgraded” their reading technology, and we’ll think about how these different stories and their technologies make meaning, both philosophical and aesthetic, for us. You'll learn methods of detailed reading as well as ways of using technology to analyze any and every kind of book you may encounter. 

 

ENGL 1385-001— Power, Passion, and Protest in British Literature

TTh 12:30-1:50. Fondren Science 133.  Rosendale.               2012: CA1, HC1     2016: CA, HC    CC: HC

A high-speed, high-altitude survey of a thousand-plus years of British literature and history, with special attention to literature’s role as an instrument of various forms of desire and power. From its prehistoric and colonial origins through the medieval, Renaissance, Enlightenment, imperial, and modern eras, the story of Britain is full of kings, queens, wars, resistance, sex, beheadings, treachery, heroism, magic, belief, doubt, progress, failure, and marvelous literature that can improve your life. As we survey this history, we will consider not just great literature, but also its relation to the social, political, intellectual, and religious histories in which it was written. Exams, quizzes, discussion boards, attendance & participation.

 

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50. Dallas Hall 101.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2102-002—Spreadsheet Lit: Excel

W 3:00-3:50. Dallas Hall 102.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2302-001—Business Writing

TTh 12:30-1:50. Dallas Hall 102.  Dickson-Carr, Carol.     2012: IL, OC, W     2016: IL, OC, W  CC: W

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2302-002— Business Writing

TTh 2:00-3:20. Dallas Hall 102.  Dickson-Carr, Carol.       2012: IL, OC, W     2016: IL, OC, W   CC: W

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2310-001— Imagination and Interpretation: Eve’s Reply

MWF 9:00-9:50. VIRTUAL.  Jones.                         2012: CA2, W     2016: LL, W   CC: CA, CAA, W

“Frailty, thy name is woman!” Hamlet’s famous declaration is hardly alone; many male poetic geniuses throughout the western literary canon expound upon the flaws of women. Yet despite lack of educational access, low literacy rates, and other institutional barriers, several women took up their pens to provide a female perspective that counters the misogynistic ideas and established gender roles of their time periods. This course will survey proto-feminist texts that take the form of plays, speeches, poems, political pamphlets, biographies, and novels. Some authors we will encounter include Sappho, Christine de Pizan, Margery Kempe, Elizabeth I, Elizabeth Cary, Mary Wroth, Margaret Cavendish, Jane Austen, Emily Brontë, and Mary Shelley. Students should expect class assignments to include two essays, a midterm, a final, and occasional quizzes. 

 

ENGL 2311-001—Introduction to Poetry: Serious Word Games

TTh 2:00-3:20.  VIRTUAL.  Bozorth.                      2012: CA2, W     2016: LL, W   CC: LAI, W

Now GLUTEN-FREE: how to do things with poems you never knew were possible, and once you know how, you won’t want to stop. You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, and write about poems written centuries ago and practically yesterday. You will learn to distinguish exotic species like villanelles and sestinas. You’ll discover the difference between free verse and blank verse and be glad you know. You will impress your friends and family with metrical analyses of great poems and famous television theme songs. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, witches, God, Satan, and trochaic tetrameter. You’ll satisfy a requirement for the English major and a good liberal-arts education. Shorter and longer papers totally approximately 20 pages; midterm; final exam; class presentation. Text: Helen Vendler, ed., Poems, Poets, Poetry, Compact 3d ed.

 

ENGL 2311-002—Introduction to Poetry: Lifting the Veil

TTh 12:30-1:50.  VIRTUAL.  Condon (Hermes).   2012: CA2, W     2016: LL, W   CC: LAI, W

“Poetry,” wrote Percy Bysshe Shelley, “lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were unfamiliar.” He’s right: poetry reveals the unexpected beauty and strangeness in the ordinary landscapes, people, and emotional situations we encounter every day. Yet, the famous stereotype of poetry suggests that the genre doesn’t reveal anything without a lot of decoding on a reader’s part—that the poem is the veil that hides a complicated message. In this course, we will explode this stereotype by learning about poetic characteristics and devices that are meant to delight readers, not confuse them. Each week we will focus on a different poetic technique or form—image, repetition, the sonnet—and discuss how poets across the centuries have used them to bring us pleasure, making something as mundane as grass seem suddenly breathtaking and strange. Requirements include a midterm and final exam, two papers, one creative exercise, a poetry recitation, and regular participation in discussions both on Canvas and in class. Course Text: TBD

 

ENGL 2312-001—Introduction to Fiction: Women Who Wonder & Wander

MWF 8:00-9:20. Hyer Hall 107.  Kiser.        2012: CA2, W    2016: LL, W   CC: LAI, W

This class will introduce you to elements of fiction through texts that represent women who wonder and wander in a variety of ways. We will ask questions such as: What do these women, found throughout American literature, search for? What do they lack in their current lives? How does the theme of wander intersect with that of wonder? How are such topics, which are portrayed by taking up both interior and exterior space, represented in narrative? Our class will progress toward answering these questions, and many more, through Kate Chopin’s The Awakening, Henry James’ The Portrait of a Lady, short stories by Mary Hunter Austin, Nella Larsen’s Quicksand, Zora Neale Hurston’s Their Eyes Were Watching God, and more.

 

ENGL 2312-002—Introduction to Fiction: The Self and the Other

MWF 2:00-2:50.  VIRTUAL.  Newman.      2012: CA2, W    2016: LL, W    CC: LAI, W

The relationship between self and other is a theme of many short stories and novels. But it is more than just a theme; it is also central to how fiction works. What we have learned to call “point of view” is a series of strategies by which writers ask us to experience the world as others do. Prose fiction asks us to empathize with others whose perspectives differ from ours whether because of gender, class, ethnicity, “race,” age, religion, or some other category. By attending to these strategies and related aspects of narrative, this course aims to help you learn to read fiction intelligently and pleasurably. It also helps you practice and hone your analytical writing skills.

Texts include Junot Diaz, This Is How You Lose Her; Leila Aboulela, Minaret; either Butler, Kindred, or Atwood, The Handmaid’s Tale; and an anthology of short fiction. Four papers totaling 15-20 pages; frequent short “low-stakes” writing assignments.

 

ENGL 2312-003—Introduction to Fiction: Forms & Functions of the Stories We Tell

MWF 12:00-12:50.  VIRTUAL.  Hermes, R.                       2012: CA2, W    2016: LL, W   CC: LAI, W

This course offers a comprehensive overview of the major areas and periods of literary fiction, from Poe to the present day. We will build a set of tools for writing effectively about literature, including close reading, awareness of genre, and familiarity with important elements of fiction. We will think deeply about not just what texts say, but how they say it and the significance of those features. And we’ll engage in scholarly argument about fiction by putting these skills into practice on the page, in our own analyses. Readings include Kate Chopin, Oscar Wilde, William Faulkner, Zora Neale Hurston, Gish Jen, J. M. Coetzee, and Mohsin Hamid. Two papers and two exams.

 

ENGL 2312-004—Introduction to Fiction: Technology and 20th Cen. American Fiction

MWF 10:00-10:50. Dedman Life Sciences Building 110.  Clemmer.         2012: CA2, W    2016: LL, W      CC: LAI, W

This course is an introduction to fiction focused on depictions of technology in 20th century American writing. The main goal of this course is that students learn to recognize the basic narrative, formal, and structural conventions of fiction so they can understand how they function in a given text.

Each text we read prominently features a technology or set of technologies—sometimes fictional but often real—that profoundly shape both its narrative and its world. We will learn how the basic conventions and devices of fiction function by closely examining the text’s depiction of both its major technology or technologies and the larger social and political consequences of its development and implementation.

We will spend most of our class time discussing a series of 20th century American novels where technology plays a major thematic role. A likely—but not final—list of these texts includes Black No More (1931) by George Schuyler, Player Piano (1952) by Kurt Vonnegut, The Crying of Lot 49 (1965) by Thomas Pynchon, Flight to Canada (1976) by Ishmael Reed, White Noise (1985) by Don DeLillo, and Parable of the Sower (1993) by Octavia Butler. We may also read selections from secondary texts that will enrich our understanding of a given novel, but these texts will make up a much smaller portion of our reading and available via Canvas.

Grade coursework will include class participation, weekly discussion posts, a written midterm consisting primarily of short-answer questions, and a final 10-12 page paper.

 

ENGL 2315-001—Introduction to Literary Study: Identity and Difference

MWF 1:00-1:50.  VIRTUAL.  Pergadia.                   2012: CA2, W    2016: CA, W   CC: CA, CAA, W

How does literature represent identity and how does it approach encounters with difference? In this course, we will read a series of literary texts alongside recent criticism and theory to develop a vocabulary and skillset for further work in literary studies. We will discuss the relationship between literature and history and between literature and philosophy, attending to questions of race, gender, sexuality, and citizenship. One of the main questions we will ask: How do texts address us as readers and how do we respond to their address? As we discern what is at stake in being a reader, we will learn how to unpack the way a text generates its meaning. Tentative reading list includes texts by William Shakespeare (The Merchant of Venice), Eliza Haywood (Fantomina), Emily Dickinson, Nella Larsen (Passing), Vladimir Nabokov (Lolita), Toni Morrison (“Recitatif”), and Claudia Rankine (Citizen).

 

ENGL 2315-002— Introduction to Literary Study: Pomp and Circumstantial Evidence

TTh 11:00-12:20.  VIRTUAL.  Dickson-Carr, Darryl.     2012: CA2, W    2016: CA, W   CC: CA, CAA, W

ENGL 2315 is an introduction to the pleasing art of literary study and to the English major. We will read, contemplate, and discuss poetry, short stories, essays, and novels from different nations and literary traditions to enjoy their many rich complexities. We will begin with different ways of defining literature, then proceed to examine how and why we read various genres and the roles that literature may play in our world. In addition, we will discover and discuss a few of the more prominent issues in contemporary literary studies. By the end of the course, the student should be able to read and write critically about literary works. This skill will serve each student well in other courses in English and elsewhere. Assignments: regular writings (in class and on your own); three papers; and five short benchmark exams will be required.  NOTE: We will watch a few selected films outside of regular class time. Tentative texts: A Handbook to Literature, Twelfth Edition, ed. William Harmon; James, The Turn of the ScrewBest American Essays of the Century, ed. Joyce Carol Oates; Shakespeare, King Lear; WisÅ‚awa Szymborska, Poems: New & Collected, 1957-1997; Derek Walcott, Omeros; selected poems by Caroline Crew, Kay Ryan, et al.

 

ENGL 2315-003— Introduction to Literary Study: Danger: Novels

MWF 1:00-1:50.  Hyer Hall 201.  Sudan.                  2012: CA2, W    2016: CA, W    CC: CA, CAA, W

“[Novels] impair the mind’s general powers of resistance which lays the mind open to terror and the heart to seduction.” So writes Hannah More at the end of the eighteenth century, noting that the noble pleasure of reading was tainted by the scurrilous seductions of prose. But what is it about this literary form that caused such a panic among the educated classes of Britain? This course will examine the dangerous and often scandalous genre of the novel in order to answer some of this question. We will begin our investigation at the end of the eighteenth century, with the advent of the Gothic novel, and extend our inquiry through the twentieth and twenty-first centuries, thinking about other dangerous forms—film, social media—along the way.

 

ENGL 2318-001— Introduction to Digital Literature

TTh 8:00-9:20. Heroy Hall 153.  Wilson.                 2012: W    2016: LL, TM, W   CC: LAI, W

What is digital literature? What is the relationship between technology and the humanities? How can technology advance our understanding of language, literature, and culture? These are some of the large-scale questions that we will explore in this course. We rely on technologies such as digital maps, e-books, search engines, and databases every day, and understanding them and being able to work with them is a vital part of preparing for professional life. This course offers a hands-on introduction to using these technologies in academic research to analyze literature, and as well as enhancing your skills in academic work, the skills you learn are of immediate value to employers in the job market.

 

ENGL 2390-001H—Introduction to Creative Writing: Next Year's Words

T 3:30-6:20. VIRTUAL. Brownderville.       2012: CA1, W   2016: CA, W   CC: CA, CAC, W

“last year’s words belong to last year’s language 
And next year’s words await another voice.”

                              —T. S. Eliot, “Little Gidding”

It is sometimes said that literature has always been, and will always be, about love and death. If so many books already engage these great themes, why do we need new writing? As James Baldwin put it, the human story “has another aspect in every country, and a new depth in every generation.” It must be told again.

This course is a poetry workshop, where timeless themes meet the new words of now. Students will write and revise their own poems, respond both verbally and in writing to one another’s work, and analyze published poems. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communication skills. There is no textbook; the instructor will provide handouts. As this is an introductory course, prior experience in creative writing is not necessary.

Next Year’s Words, the honors section of our introductory creative writing course, is about the tremendously exciting, and culturally necessary, adventure of the young writer. It’s about singing truth-song in a voice not heard before on earth.

This year can’t write the poems of 2021. Next year’s poetry needs next year’s words.

 

ENGL 2390-002—Introduction to Creative Writing

M 2:00-4:50.  VIRTUAL.  Rubin.     2012: CA1, W   2016: CA, W   CC: CA, CAC, W

An introductory workshop that will focus on the fundamentals of fiction writing. Students will learn the essential practice of "reading like a writer" while developing their own work and helpfully discussing their classmates'.

 

ENGL 2390-003—Introduction to Creative Writing

TTh 3:30-4:50.  VIRTUAL.  Condon (Hermes).           2012: CA1, W   2016: CA, W   CC: CA, CAC, W

Writing poetry has the potential to render our attention to the world more acute. This creative writing workshop will teach you to notice how you notice the world as well as the essential craft tools needed to translate your perceptions to the page. To learn these tools, we will read and discuss the work of poets who have mastered them, focusing on how their formal decisions communicate something fundamental about the ways we perceive our world. In-class writing and homework prompts will help you generate your own original poetry. As the semester progresses you will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own. One characteristic of poetry is its translation of human experience into art that lasts. Often, these experiences raise challenging questions. You should be prepared to read and respond respectfully to poetry that addresses sensitive material. Other requirements include a final portfolio of revised poems with an accompanying introduction to the work. All reading supplied on Canvas.

 

ENGL 2390-004—Introduction to Creative Writing

TTh 9:30-10:50. Dedman Life Sciences Building 110.  Smith.       2012: CA1, W   2016: CA, W                                                                                                                           CC: CA, CAC, W

In this class, students will write, critique and revise short fiction and analyze published texts using the elements of fiction. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to research literary journals and submit a carefully revised story. Prior experience in creative writing is not necessary.

 

ENGL 2390-005—Introduction to Creative Writing: The Writer's Toolkit

MWF 2:00-2:50.  VIRTUAL.  Hermes, R.               2012: CA1, W   2016: CA, W   CC: CA, CAC, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

This course will explore the foundational aspects of creative writing in prose and poetry. To prepare ourselves to write our own stories and poems, we will begin by reading published work along with craft essays that talk about the writing process. These readings are meant to stimulate discussion about what makes a successful poem or story and to provide models for your own creative work.

            During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. It is important, therefore, that all students engage in active and respectful participation every class period, so that we can all make the most of this opportunity to sharpen our critical and creative skills.

 

ENGL 2390-006—Introduction to Creative Writing: The Writer’s Toolkit

MWF 3:00-3:50.  VIRTUAL.  Hermes, R.               2012: CA1, W   2016: CA, W  CC: CA, CAC, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

This course will explore the foundational aspects of creative writing in prose and poetry. To prepare ourselves to write our own stories and poems, we will begin by reading published work along with craft essays that talk about the writing process. These readings are meant to stimulate discussion about what makes a successful poem or story and to provide models for your own creative work.

            During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. It is important, therefore, that all students engage in active and respectful participation every class period, so that we can all make the most of this opportunity to sharpen our critical and creative skills.

 

ENGL 3310-001—Contemporary Approaches to Literature

TTh 9:30-10:50.   VIRTUAL.  Greenspan.

This is a gateway course designed as an intensive introduction to the study of literary texts. It explores several key questions: What is a text? What are some of the approaches thoughtful critics have taken in recent years to the analysis of texts? How do we as readers make sense both of texts and of their critics? And how, in practice, does each of us progress from the reading to the written analysis of texts? 

The course consists of five modules in which we explore these questions in relation to a handful of major literary texts of the nineteenth and twentieth centuries. In each one, we will employ a combination of lecture, discussion group activity, and writing exercises with the goal of refining our critical thinking, reading, and writing skills. 

Texts: Jane Austen, Pride and Prejudice; Charles Chesnutt, The Marrow of Tradition; Art Spiegelman, Maus, 2 volume set; Art Spiegelman, MetaMaus; Harriet Beecher Stowe, Uncle Tom’s Cabin.

Schedule of Course Modules: Module 1 – Introduction to the Study of Texts; Module 2 – Reading and Responding to Pride and Prejudice; Module 3 – Reading and Responding to Uncle Tom’s Cabin; Module 4 – Reading and Responding to The Marrow of Tradition; Module 5 – Reading and Responding to Maus.

 

ENGL 3341-001— British Literary History II: The Ordinary, Extraordinary, and "Real"

MWF 12:00-12:50.   VIRTUAL.  Newman.  2012: CA2, HC2, W   2016: HFA, HSBS, W   CC: LAI, W

Officially known as “Wordsworth through Yeats,“ this course familiarizes students with some of the main currents in British literature during the Romantic, Victorian, and Modern periods--that is, from the “Age of Revolutions” beginning around 1780 to the period between the two World Wars. We begin with the self-conscious turn in the Romantic period to the language of ordinary people and the experiences of ordinary life. But we also consider the continuing attraction of the strange, the unusual, and the visionary that gripped both readers and writers throughout all three historical periods. And we attend to the ways that the literary imagination, beginning with the Romantics, finds the extraordinary in the ordinary and recalibrates its sense of the real and how to represent it.

We will give significant attention to the social and historical contexts to which the writers were responding, while also practicing the skills of close reading and writing about literature. In short, we will trace a story about the canon of British literature, while keeping in mind that there are other ways of telling the story. About 15-20 pages of formal paper-writing (3-4 papers), a midterm and final; frequent small “low-stakes” homework assignments.

            Texts: The Broadview Anthology of British Literature (possibly a customized version); Dickens, Oliver Twist; Woolf, Mrs. Dalloway.

 

ENGL 3346-001— American Literary History I: One Nation under Multiplicity

TTh 2:00-3:20.   VIRTUAL.  Greenspan.    2012: CA2, HC2, W    2016: HFA, HSBS, W  CC: LAI, W

E pluribus unum -- The motto for the seal of the United States, first proposed in 1776, serves as the motto of this course. But what has it meant to writers of all backgrounds during the early years of the Republic? And what does it mean for us, looking backward at the period 1776-1900? This course will explore the literary responses of a wide array of major American writers who explored that founding issue. Writers to include Benjamin Franklin, Thomas Jefferson, Hannah Foster, William Apess, Frederick Douglass, Herman Melville, Harriet Jacobs, Walt Whitman, Emily Dickinson, Abraham Lincoln, Henry James, Mark Twain, and Charles Chesnutt, and Kate Chopin.

 

ENGL 3362-001—African-American Literature: Fugitive Literatures

TTh 11:00-12:20.  VIRTUAL.  Edwards.      2012: CA2, HD, W     2016: HFA, HD, W  CC: HD, W

American film and television have been a prime site for liberatory action, where heroes lead bold escapes from chain gangs, gladiatorial slave pits, and prison of war camps. Nevertheless, this liberation, in both fantastic and realistic settings, often figures only within reach of the white slave or prisoner. This course examines the relationship between the experiences of Black Americans and their portrayal in historical narratives of slavery, the convict-lease system, and the modern carceral state. Starting with the writings of Frederick Douglass, William and Ellen Craft, and Harriet Jacobs, the class builds on literature that built sympathy for enslaved people. From there, students become familiar with the changing definition of liberation that develops into mainstream popular culture. Appropriating the definitions of freedom from Black American experiences, film has suggested that white experiences are synonymous with narratives of Black enslavement and imprisonment. Works as diverse as I am a Fugitive from a Chain Gang to The Great Escape to Shawshank Redemption have provided white heroism in the face of systems of imprisonment that likewise keep traumatic histories of racial injustice perpetually obscured. In addition, the course looks at postmodernist trends of the last half-century that have allowed Black filmmakers and their allies to use film, such as Django Unchained as a place for fulfilling fantasies and historical narratives of revolt. The class considers how incarceration narratives position the representation of Black Americans as perpetually enslaved in an unceasing reenactment.

 

ENGL 3363-001—Chicana/Chicano Literature

MWF 10:00-10:50.  VIRTUAL.  Sae-Saue.               2012: CA2, HC2, W    2016: HFA, HSBS, W                                                                                                CC: LAI, HD, W

This class will examine the aesthetic and thematic attributes of key texts of the Mexican American and Chicana/o literary archives. Our primary goal is to map the literary development of Chicana/o consciousness. That is, we will examine how essential Chicana/o texts mobilize literary elements in order to organize perceptions of social interaction, articulate political needs, and to explore cultural values. With particular emphasis on Chicana/o novels and Mexican American culture, we shall learn to recognize how each narrative engages issues of race, class, and gender within a diverse set of social circumstances. As such, we shall attend to how the selected texts articulate the Chicana/o imagination not as something “essential,” but rather as the means by which to conceive of community within disparate and complex social-historical situations. In this regard, this class will examine how Chicana/o literature negotiates racial injustice, legal disenfranchisement, economic exploitation, and cultural eradication, among other topics. This class will pay particular attention to texts that explore life in Texas and at the US-Mexico border.

 

ENGL 3390-001—Creative Writing Workshop

W 2:00-4:50. VIRTUAL.  Rubin.      2012: CA2, W   2016: HFA, W   CC: W

An advanced workshop devoted to the craft of creative nonfiction, this class will apply the tenets of fiction writing to the construction of the personal essay. In addition to participating in regular workshops, students will study nonfiction masterpieces by such authors as Virginia Woolf and James Baldwin along with the work of brilliant contemporary essayists currently expanding the form.

 

ENGL 3390-002 Creative Writing Workshop

TTh 12:30-1:50. Hyer Hall 111.  Smith.        2012: CA2, W   2016: HFA, W   CC: W

In this class students will write, revise, and analyze imaginative prose. Discussion will center on the students’ writing and on published work that demonstrates solid craftsmanship. The primary focus will be on revision. Toward the end of the semester, each student will be required to research literary journals and submit a carefully revised story. Prerequisite: Pre-written 5 page short story.

 

ENGL 4323-001—Chaucer: The Canterbury Tales

TTh 2:00-3:20.  VIRTUAL.  Wheeler.          2012: IL, OC   2016: IL, OC

What’s it like to be a writer in the middle of a pandemic? Chaucer is our greatest example in English poetry. In his strong, wise, and rich narratives, his (frequently hilarious) poetry urges us to balance the delight with the difficulty of life.

Reading: The Norton Chaucer and background texts

Assignments: regular reading comments, in-class oral presentations and memorization, short and longer paper.

 

ENGL 4330-001—Renaissance Writers: Welcome to Faerieland, Eden, and Hell

TTh 12:30-1:50.  VIRTUAL.  Moss. 2012: IL, OC   2016: IL, OC   CC: OC

As Renaissance poets, Edmund Spenser (c. 1552–99) and John Milton (1608–74) are counterparts: the former’s Faerie Queene celebrates the English monarch and her realm in an elaborate and open-ended allegorical fiction, while the latter’s Paradise Lost appeals directly to the Bible for its authority, depicting England’s king as a satanic usurper intent on destroying the commonwealth. Spenser mesmerizes his readers with the intricacy of his rhymed stanzas and with his narrative’s infinite convolutions, while Milton’s exacting language and sublime metaphors push us inexorably toward the climactic Fall from Eden and beyond. As they apply themselves to the praise and critique of their nation and its institutions of faith and government, both poets transform the English language and the culture that language serves and expresses.

            In this course, we will read about half of Spenser’s Faerie Queene and the entirety of Milton’s Paradise Lost, as well as shorter poems and illuminating prose by both poets. In our efforts to build working interpretations of each poem, we will examine biblical, classical, medieval, and Renaissance sources, explore the culture and politics of Renaissance England, and evaluate modern critical accounts of these landmark texts.

 

ENGL 4343-001— Studies in British Literature in the Age of Revolutions: Austen, Charlotte Bronte, and Eliot

MWF 9:00-9:50.  VIRTUAL.  Satz. 2012: IL, OC   2016: IL, OC   CC: OC

We will read with a variety of critical approaches six great novels: Pride and Prejudice, Emma, Jane Eyre, Villette, Mill on the Floss, and Middlemarch. This course is an opportunity to savor some of the monumental works of literature. Requirements: three short papers (4 pp.) and one longer paper (10 pp.); mid-term and final.

 

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Queer America

TTh 3:30-4:50.  VIRTUAL.  Edwards.        2012: CA2, IL, OC   2016: HFA, IL, OC

What does it mean to have a sexual identity? How does the concept of sexuality change over time? How have people described their desires and expressed their erotic feeling? This course examines a range of American voices that engage in queer desire, identity, and conceptions of the family. Beginning with these questions, the course looks to canonical and non-canonical authors to explore a multitude of perspectives on sexuality. Although the regulation of gender and sexual behavior—and transgression of sex/gender norms—have been central to American culture from its beginnings, this course focuses on texts from the second half of the nineteenth century through the very contemporary. By addressing these concerns, students will come to their own questions of the texts that go beyond finding moments of heightened desire and sexual transgressions. How do moments of quiet contemplation or moments of camp, play, and protest become places for queerness? With help from queer theorists and social historians, we will pay close attention to how discourses shape queer expression, and how queer authors have changed culture. It will thus be important for us to interrogate not only the meaning of “American” and “queer” but what is likewise the consequence of labeling these texts as part of a canon. The course will end, then, with a reflection on what we missed, the potential pitfalls of interdisciplinarity, and the problems that might emerge from an (over)emphasis on sexuality in the practice of queer theory and analysis.

 

ENGL 6340-001—Proseminar in British Literature in the Age of Revolutions

M 3:00-5:50. Clements Hall 225.  Sudan    

This course examines the structures of British imperialism as they are reflected in literature, science, and technology. The premise for our examination, however, is that such structures were nor necessarily European in origin. Resisting the self-image of the “Enlightenment” as it was developed in seventeenth- and eighteenth-century Europe, we will investigate how “Enlightenment” values and socio-political norms prized by modernity also had roots in cultures and geographies other than Europe. Our focus will be on the critical encounters between England and Asia with an eye to deconstructing legacies of Eurocentrism. Ultimately, we will consider the implications of these histories in relation to our own (post)modern understanding of imperial identity and the assumptions about legacy, power, and control in the global marketplace.

 

ENGL 7340-001—Seminar in British Literature: Allegory and Allusion in Spenser's Poetry

T 3:30-6:20.  VIRTUAL. Moss.

Edmund Spenser’s Faerie Queene, the longest major poem in English, is at once the early modern period’s most ambitious and successful allegory and a comprehensive guide to the phenomenon and practice of intertextuality. We will begin with the youthful pastoral, The Shepheardes Calender (1579), introducing ourselves to Spenserian modes of allegory, intertextuality, pastoral, and paratext, while locating Spenser’s poetic career and Protestant theology in their humanist and Reformation contexts. Following two crash-course weeks in theories of allegory and intertextuality, alongside the groundwork of reading Virgil, Ovid, and Chaucer, we will pivot to The Faerie Queene, which we will read in its entirety over the remaining classes, supported by relevant criticism both classic and current.

            Key to this course will be learning to balance minute close-reading (your dreams will begin to rhyme ababbcbcC) with large-scale claims embracing a sprawling text, its major intertexts, and the historical, political, and theological preoccupations of the period. We will explore early modern English theories and prejudices regarding ethnic difference, including Spenser’s own notorious tract, A View of the Present State of Ireland, as well as the troubled relationship between an intensely patriarchal humanism and an aging, unmarried queen with her cult of virginity. We will navigate the generic borderlands between didactic allegory and delightful romance, and we shall have to decide whether we are rooting for the knights or the dragons.

 

ENGL 7370-001—Seminar in Minority Literature: Rethinking Race and Posthumanism

T 3:00-5:50.  VIRTUAL.  Pergadia.

This course explores the semantic, ideological, aesthetic and material conflations and connections between the human, animal, and object through the racial inflections of these categories. We will analyze contemporary debates in animal studies, posthumanism, and critical race studies that renews the investment in the connection between race, animality, and posthumanism. Is the connection between race and animality always a debased alliance? How does race re-signify species and vice versa? Students will gain dexterity with recent debates of posthumanism and will develop historically-specific, materially-attuned accounts of the relationship between race, animality, and posthumanism. The archive for the seminar consists of texts in contemporary American fiction: Toni Morrison, Octavia Butler, Ruth Ozeki, Art Spiegelman. Theoretical texts by Sylvia Wynter, Jacques Derrida, Cary Wolfe, Alexander G. Weheliye, Zakiyyah Iman Jackson, Donna Haraway.

 

ENGL 7376-001—Seminar: Special Topics: Arts of Violence

TTh 12:30-1:50. Dedman Life Science Building 132.  Weisenburger.

This seminar takes up studies of violence in American fiction, from 1939 to 2016—Chandler, to Whitehead. As a fact and an eternal scourge of American life, bloody violence is as prominent in our time as in prehistory. Our readings in modern and postmodern American fictions will span seventy-seven years of modern and contemporary history. It’s an age as immersed in violence as any other. And as in any other historical period and place, violence in our period of study is the seedbed or ur-stuff of heroes and Hitlers, of legends, critiques, entertainment, moral & political analyses, and of spiritual crises. Violence has also been, from the early-twentieth century onward, a subject of intense critical and philosophical analyses. In those efforts, he secondary texts listed below are exemplary yet surely not alone in the approaches and analyses those critics have developed.

            By semester’s end each participant in our seminar will have developed a critical approach to a particular text (or more) and the challenges it poses. Looking forward, be prepared to present, at the mid-point in the semester, a short, 15- to 20-minute presentation that discusses your project, where it’s going, and why. 

 

ENGL 7376-002—Seminar: Special Topics: On the Road [again]

Th 3:30-6:20. Clements Hall 225.  Rosendale.

         This course will survey one of literature’s oldest and most flexible structural tropes: the journey.  What is it that has made travel, and its combination of temporal and geographic movement, so irresistible to three millennia of Western writers?  What range of different uses have they made of this deeply resonant metaphor, and what possibilities has it offered?  How are later road narratives in conversation with earlier ones?  (And why, until quite recently, have so few of them been written by women?)  From ancient Greece to 20thC America, we will read epics, novels, poems, plays, captivity and slave narratives, and criticism to better understand the depth and variations of a trope so pervasive that we may hardly have noticed it.

         Authors will likely include Homer, Chaucer, Bunyan, Johnson, Voltaire, Rousseau, Tennyson, Douglass, Whitman, Conrad, Lawrence, Eliot, Hemingway, Beckett, and Kerouac.  Further possible additions include The Wanderer, Dante, Spenser, Cavendish, Swift, Mark Twain, Faulkner, Steinbeck, O’Connor, Pirsig, Heat-Moon; other suggestions from seminar enrollees are welcome.

Cat #

Sec

Course Title

Instructor

Days

Start

End

Room

UC Tags

CC Tags

1363

001

The Myth of the American West

Weisenburger

TTh

3:30

4:50

HERY 153

2012: CA1, HC1 2016: CA, HC

CA, CAA

1380

001

Introduction to Literature:
From Stone Tablets to Hypertext

Wilson

TTh

9:30

10:50

HERY 153

2012: CA1 2016: CA

CA, CAA

1385

001

Power, Passion, and Protest in British Literature

Rosendale

TTh

12:30

1:50

FOSC 133

2012: CA1, HC1 2016: CA, HC

HC

2102

001

Spreadsheet Lit: Excel

Dickson-Carr, C.

M

3:00

3:50

DH 101

 

 

2102

002

Spreadsheet Lit: Excel

Dickson-Carr, C.

W

3:00

3:50

DH 102

 

 

2302

001

Business Writing

Dickson-Carr, C.

TTh

12:30

1:50

DH 102

2012: IL, OC, W 2016: IL, OC, W

W

2302

002

Business Writing

Dickson-Carr, C.

TTh

2:00

3:20

DH 102

2012: IL, OC, W 2016: IL, OC, W

W

ENGL/ WRTR 2306

001H

Honors Humanities Seminar II

Arbery

MWF

9:00

9:50

DH 157


 

ENGL/ WRTR 2306

002H

Honors Humanities Seminar II

Arbery

MWF

10:00

10:50

DH 157


 

ENGL/ WRTR 2306

003H

Honors Humanities Seminar II

Arbery

MWF

11:00

11:50

DH 157


 

ENGL/ WRTR 2306

004H

Honors Humanities Seminar II

Miller

MWF

11:00

11:50

DLSB 132


 

ENGL/ WRTR 2306

005H

Honors Humanities Seminar II

Hopper

MWF

12:00

12:50

Virtual


 

ENGL/ WRTR 2306

006H

Honors Humanities Seminar II

Hopper

MWF

1:00

1:50

Virtual


 

ENGL/ WRTR 2306

007H

Honors Humanities Seminar II

Hopper

MWF

2:00

2:50

Virtual


 

ENGL/ WRTR 2306

008H

Honors Humanities Seminar II

McConnell

TTh

9:30

10:50

HYER 106


 

ENGL/ WRTR 2306

009H

Honors Humanities Seminar II

Ray

TTh

9:30

10:50

FOSC 152


 

ENGL/ WRTR 2306

010H

Honors Humanities Seminar II

McConnell

TTh

11:00

12:20

HYER 106


 

ENGL/ WRTR 2306

011H

Honors Humanities Seminar II

Bozorth

TTh

11:00

12:20

Virtual


 

ENGL/ WRTR 2306

012H

Honors Humanities Seminar II

McConnell

TTh

12:30

1:50

HYER 106


 

ENGL/ WRTR 2306

013H

Honors Humanities Seminar II

Ivie

TTh

12:30

1:50

DLSB 110

 

 

ENGL/ WRTR 2306

014H

Honors Humanities Seminar II

McConnell

TTh

2:00

3:20

HYER 106


 

2310

001

Imagination and Interpretation: Eve’s Reply

Jones

MWF

9:00

9:50

Virtual

2012: CA2, W

2016: CA, W

CA, CAA, W

2311

001

Poetry: Serious Word Games

Bozorth

TTh

2:00

3:20

Virtual

2012: CA2, W 2016: LL, W

LAI, W

2311

002

Poetry: Lifting the Veil

Condon

TTh

12:30

1:50

Virtual

2012: CA2, W 2016: LL, W

LAI, W

2312

001

Fiction: Women Who Wonder & Wander

Kiser

TTh

8:00

9:20

HYER 107

2012: CA2, W 2016: LL, W

LAI, W

2312

002

Fiction: The Self and the Other

Newman

MWF

2:00

2:50

Virtual

2012: CA2, W 2016: LL, W

LAI, W

2312

003

Fiction: Forms & Functions of
the Stories We Tell

Hermes, R.

MWF

12:00

12:50

Virtual

2012: CA2, W 2016: LL, W

LAI, W

2312

004

Fiction: Technology & 20th C. American Fiction

Clemmer

MWF

10:00

10:50

DLSB 110

2012: CA2, W 2016: LL, W

LAI, W

2315

001

Introduction to Literary Study: Identity and Difference

Pergadia

MWF

1:00

1:50

Virtual

2012: CA2, W 2016: CA, W

CA, CAA, W

2315

002

Introduction to Literary Study:
Pomp and Circumstantial Evidence

Dickson-Carr, D.

TTh

11:00

12:20

Virtual

2012: CA2, W 2016: CA, W

CA, CAA, W

2315

003

Introduction to Literary Study: Danger: Novels

Sudan

MWF

1:00

1:50

HYER 201

2012: CA2, W 2016: CA, W

CA, CAA, W

2318

001

Introduction Digital Literature

Wilson

TTh

8:00

9:20

HERY 153

2012: W 2016: LL, TM, W

LAI, W

2390

001H

Introduction to Creative Writing:
Next Year's Words

Brownderville

T

3:30

6:20

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

2390

002

Introduction to Creative Writing

Rubin

M

2:00

4:50

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

2390

003

Introduction to Creative Writing

Condon, K.

TTh

3:30

4:50

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

2390

004

Introduction to Creative Writing

Smith

TTh

9:30

10:50

DLSB 110

2012: CA1, W 2016: CA, W

CA, CAC, W

2390

005

Introduction to Creative Writing:
The Writer's Toolkit

Hermes, R.

MWF

2:00

2:50

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

2390

006

Introduction to Creative Writing:
The Writer's Toolkit

Hermes, R.

MWF

3:00

3:50

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

3310

001

Contemporary Approaches to Literature

Greenspan

TTh

9:30

10:50

Virtual

 

 

3341

001

British Literary History II:
The Ordinary, Extraordinary, and "Real"

Newman

MWF

12:00

12:50

Virtual

2012: CA2, HC2, W 2016: HFA, HSBS, W

LAI, W

3346

001

American Literary History I: One Nation under Multiplicity

Greenspan

TTh

2:00

3:20

Virtual

2012: CA2, HC2, W 2016: HFA, HSBS, W

LAI, W

3362

001

African–American Literature: Fugitive Literatures

Edwards

TTh

11:00

12:20

Virtual

2012: CA2, HD, W 2016: HFA, HD, W

HD, W

3363

001

Chicana/Chicano Literature

Sae-Saue

MWF

10:00

10:50

Virtual

2012: CA2, HD, W 2016: HFA, HD, W

LAI, HD, W

3390

001

Creative Writing Workshop

Rubin

W

2:00

4:50

Virtual

2012: CA2, W 2016: HFA, W

W

3390

002

Creative Writing Workshop

Smith

TTh

12:30

1:50

HYER 111

2012: CA2, W 2016: HFA, W

W

4323

001

Chaucer: The Canterbury Tales

Wheeler

TTh

2:00

3:20

Virtual

2012: IL, OC 2016: IL, OC

 

4330

001

Renaissance Writers:
Welcome to Faerieland, Eden, and Hell

Moss

TTh

12:30

1:50

Virtual

2012: IL, OC 2016: IL, OC

OC

4343

001

Studies in British Literature in the Age of Revolutions:
Austen, Charlotte Bronte, and Eliot

Satz

MWF

9:00

9:50

Virtual

2012: IL, OC 2016: IL, OC

OC

4360

001

Studies in Modern and Contemporary
American Literature: Queer America

Edwards

TTh

3:30

4:50

Virtual

2012: CA2, IL, OC 2016: HFA, IL, OC

 

6340

001

Proseminar in British Literature in the Age of Revolutions

Sudan

M

3:00

5:50

CLEM 225

 

 

7340

001

Seminar in British Literature: Allegory and Allusion in Spenser's Poetry

Moss

T

3:30

6:20

Virtual

 

 

7370

001

Seminar in Minority Literature:
Rethinking Race and Posthumanism

Pergadia

W

3:00

5:50

Virtual

 

 

7376

001

Seminar: Special Topics: Arts of Violence

Weisenburger

TTh

12:30

1:50

DLSB 132

 

 

7376

002

Seminar: Special Topics: On the Road [again]

Rosendale

Th

3:30

6:20

CLEM 225

 

 

Cat #

Sec

Course Title

Instructor

Days

Start

End

Room

UC Tags

UC Tag

ENGL/ WRTR 2306

001H

Honors Humanities Seminar II

Arbery

MWF

9:00

9:50

DH 157

2012: CA1, W 2016: CA, W

2310

001

Imagination and Interpretation: Eve’s Reply

Jones

MWF

9:00

9:50

Virtual

2012: CA2, W

2016: CA, W

CA, CAA, W

4343

001

Studies in British Literature in the Age of Revolutions:
Austen, Charlotte Bronte, and Eliot

Satz

MWF

9:00

9:50

Virtual

2012: IL, OC 2016: IL, OC

OC

ENGL/ WRTR 2306

002H

Honors Humanities Seminar II

Arbery

MWF

10:00

10:50

DH 157

2012: CA1, W 2016: CA, W

2312

004

Fiction: Technology & 20th C. American Fiction

Clemmer

MWF

10:00

10:50

DLSB 110

2012: CA2, W 2016: LL, W

LAI, W

3363

001

Chicana/Chicano Literature

Sae-Saue

MWF

10:00

10:50

Virtual

2012: CA2, HD, W 2016: HFA, HD, W

LAI, HD, W

ENGL/ WRTR 2306

003H

Honors Humanities Seminar II

Arbery

MWF

11:00

11:50

DH 157

2012: CA1, W 2016: CA, W

ENGL/ WRTR 2306

004H

Honors Humanities Seminar II

Miller

MWF

11:00

11:50

DLSB 132

2012: CA1, W 2016: CA, W

ENGL/ WRTR 2306

005H

Honors Humanities Seminar II

Hopper

MWF

12:00

12:50

Virtual

2012: CA1, W 2016: CA, W

2312

003

Fiction: Forms & Functions of the Stories We Tell

Hermes, R.

MWF

12:00

12:50

Virtual

2012: CA2, W 2016: LL, W

LAI, W

3341

001

British Literary History II:
The Ordinary, Extraordinary, and "Real"

Newman

MWF

12:00

12:50

Virtual

2012: CA2, HC2, W 2016: HFA, HSBS, W

LAI, W

ENGL/ WRTR 2306

006H

Honors Humanities Seminar II

Hopper

MWF

1:00

1:50

Virtual

2012: CA1, W 2016: CA, W

2315

001

Introduction to Literary Study:
Identity and Difference

Pergadia

MWF

1:00

1:50

Virtual

2012: CA2, W 2016: CA, W

CA, CAA, W

2315

003

Introduction to Literary Study: Danger: Novels

Sudan

MWF

1:00

1:50

HYER 201

2012: CA2, W 2016: CA, W

CA, CAA, W

ENGL/ WRTR 2306

007H

Honors Humanities Seminar II

Hopper

MWF

2:00

2:50

Virtual

2012: CA1, W 2016: CA, W

2312

002

Fiction: The Self and the Other

Newman

MWF

2:00

2:50

Virtual

2012: CA2, W 2016: LL, W

LAI, W

2390

005

Introduction to Creative Writing:
The Writer's Toolkit

Hermes, R.

MWF

2:00

2:50

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

2390

006

Introduction to Creative Writing:
The Writer's Toolkit

Hermes, R.

MWF

3:00

3:50

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

2390

002

Introduction to Creative Writing

Rubin

M

2:00

4:50

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

2102

001

Spreadsheet Lit: Excel

Dickson-Carr, C.

M

3:00

3:50

DH 101

6340

001

Proseminar in British Literature in the Age of Revolutions

Sudan

M

3:00

5:50

CLEM 225

2102

002

Spreadsheet Lit: Excel

Dickson-Carr, C.

W

3:00

3:50

DH 102

3390

001

Creative Writing Workshop

Rubin

W

2:00

4:50

Virtual

2012: CA2, W 2016: HFA, W

W

7370

001

Seminar in Minority Literature:
Rethinking Race and Posthumanism

Pergadia

W

3:00

5:50

Virtual

2312

001

Fiction: Women Who Wonder & Wander

Kiser

TTh

8:00

9:20

HYER 107

2012: CA2, W 2016: LL, W

LAI, W

2318

001

Literature and Digital Humanities: An Introduction

Wilson

TTh

8:00

9:20

HERY 153

2012: W 2016: LL, TM, W

LAI, W

1380

001

Introduction to Literature: From Stone Tablets to Hypertext

Wilson

TTh

9:30

10:50

HERY 153

2012: CA1 2016: CA

CA, CAA

ENGL/ WRTR 2306

008H

Honors Humanities Seminar II

McConnell

TTh

9:30

10:50

HYER 106

2012: CA1, W 2016: CA, W

ENGL/ WRTR 2306

009H

Honors Humanities Seminar II

Ray

TTh

9:30

10:50

FOSC 152

2012: CA1, W 2016: CA, W

2390

004

Introduction to Creative Writing

Smith

TTh

9:30

10:50

DLSB 110

2012: CA1, W 2016: CA, W

CA, CAC, W

3310

001

Contemporary Approaches to Literature

Greenspan

TTh

9:30

10:50

Virtual

ENGL/ WRTR 2306

010H

Honors Humanities Seminar II

McConnell

TTh

11:00

12:20

HYER 106

2012: CA1, W 2016: CA, W

ENGL/ WRTR 2306

011H

Honors Humanities Seminar II

Bozorth

TTh

11:00

12:20

Virtual

2012: CA1, W 2016: CA, W

2315

002

Introduction to Literary Study:
Pomp and Circumstantial Evidence

Dickson-Carr, D.

TTh

11:00

12:20

Virtual

2012: CA2, W 2016: CA, W

CA, CAA, W

3362

001

African–American Literature: Fugitive Literatures

Edwards

TTh

11:00

12:20

Virtual

2012: CA2, HD, W 2016: HFA, HD, W

HD, W

1385

001

Power, Passion, and Protest in British Literature

Rosendale

TTh

12:30

1:50

FOSC 133

2012: CA1, HC1 2016: CA, HC

HC

2302

001

Business Writing

Dickson-Carr, C.

TTh

12:30

1:50

DH 101

2012: IL, OC, W 2016: IL, OC, W

W

ENGL/ WRTR 2306

012H

Honors Humanities Seminar II

McConnell

TTh

12:30

1:50

HYER 106

2012: CA1, W 2016: CA, W

ENGL/ WRTR 2306

013H

Honors Humanities Seminar II

Ivie

TTh

12:30

1:50

DLSB 110

2012: CA1, W 2016: CA, W

2311

002

Poetry: Lifting the Veil

Condon

TTh

12:30

1:50

Virtual

2012: CA2, W 2016: LL, W

LAI, W

3390

002

Creative Writing Workshop

Smith

TTh

12:30

1:50

HYER 111

2012: CA2, W 2016: HFA, W

W

4330

001

Renaissance Writers:
Welcome to Faerieland, Eden, and Hell

Moss

TTh

12:30

1:50

Virtual

2012: IL, OC 2016: IL, OC

OC

 7376  001  

Seminar: Special Topics: Arts of Violence

Weisenburger
TTh
12:30  1:50 DLSB 132
   

2302

002

Business Writing

Dickson-Carr, C.

TTh

2:00

3:20

DH 102

2012: IL, OC, W 2016: IL, OC, W

W

ENGL/ WRTR 2306

014H

Honors Humanities Seminar II

McConnell

TTh

2:00

3:20

HYER 106

2012: CA1, W 2016: CA, W

2311

001

Poetry: Serious Word Games

Bozorth

TTh

2:00

3:20

Virtual

2012: CA2, W 2016: LL, W

LAI, W

3346

001

American Literary History I:
One Nation under Multiplicity

Greenspan

TTh

2:00

3:20

Virtual

2012: CA2, HC2, W 2016: HFA, HSBS, W

LAI, W

4323

001

Chaucer: The Canterbury Tales

Wheeler

TTh

2:00

3:20

Virtual

2012: IL, OC 2016: IL, OC

 1363  001  

The Myth of the American West

Weisenburger  TTh 3:30
4:50
DLSB 132

2012: CA1, HC1 2016: CA, HC

 

CA, CAA

2390

003

Introduction to Creative Writing

Condon, K.

TTh

3:30

4:50

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

4360

001

Studies in Modern and Contemporary
American Literature: Queer America

Edwards

TTh

3:30

4:50

Virtual

2012: CA2, IL, OC 2016: HFA, IL, OC

2390

001H

Introduction to Creative Writing: Next Year's Words

Brownderville

T

3:30

6:20

Virtual

2012: CA1, W 2016: CA, W

CA, CAC, W

7340

001

Seminar in British Literature:
Allegory and Allusion in Spenser's Poetry

Moss

T

3:30

6:20

Virtual

7376

002

Seminar: Special Topics: On the Road [again]

Rosendale

Th

3:30

6:20

CLEM 225

Fall 2020

ENGL 1320-001—Cultures of Medieval Chivalry: COURAGE! HONOR! SHAME! ROMANCE! DRAGONS!

TTh 11:00-12:20.  REMOTE.  Goyne.     2012: CA1, HC1, OC      2016: LL, HC, OC

In this course we study the development of chivalric mentalities in literature, history, and culture from the Middle Ages to modern times, from the flowering of chivalry as an ideal and in practice in twelfth-century Western culture to its presence in the current moment.  Stories from King Arthur form the central thread around which we will examine chivalric education and adventure, sin and atonement.  This is a lecture/discussion course; grading criteria: reading commentaries, mid-term exam, presentations, final exam, and participation.

 

ENGL 1330-001—The World of Shakespeare 

MWF 10:00-10:50.  Moody Mil.  Rosendale & Moss.     2012: CA1   2016: LL 

Time to (re-)introduce yourself to our language’s greatest writer. In this course, you will meet Shakespeare’s princes, tyrants, heroes, villains, saints, sinners, lovers, losers, drunkards, clowns, outcasts, fairies, witches, and monsters. You’ll watch and listen as they love, woo, kiss, charm, hate, curse, mock, fool, sing to, dance with, get drunk with, sleep with, fight with, murder, and haunt each other. You will visit Renaissance England, a place and time as strange, troubled, exciting, delightful, fearful, thoughtful, political, magical, bloody, sexy, and confused as your own. You will read poetry you will never forget.

Our introductory survey will cover 6–8 plays in all of the major Shakespearean genres: comedy, tragedy, history, and romance, as well as some poetry (all texts are digital and free, with a print option for students who prefer print). Background readings, lectures, and films will contextualize Shakespeare’s achievement within Renaissance society and life (and death), engaging the religious, political, cultural, and economic debates of that glorious but tumultuous age.

Coursework includes frequent quizzes, written midterm and final exams, and one extra credit opportunity. No papers.

ENGL 1330 satisfies the Language and Literature requirement for the University Curriculum, and counts toward the English major and minor.

 

ENGL 1365-001—Literature of Minorities: “Otherness” and Identity in American Culture

TTh 2:00-3:20.  Fondren Science 133.  Levy.                 2012: CA1, HD     2016: LL, HD

The course interrogates questions of individual and collective identities from historical, contemporary and literary perspectives.  We look closely at the many categories that have constituted identity in the US, including race, ethnicity, gender, sexual orientation and the myriad key words that have come to constitute our cultural conversation about identity, including: “Whiteness,” “Blackness,” “White Supremacy,” “Identity Politics,” “Queerness,” “Pluralism,” etc.  

 

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50.  201 Hyer Hall.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize data, professionally format worksheets, use and link worksheets, create tables and charts, and communicate results of their analyses in clear, readable prose. Students must bring laptop with most recent version of Excel to each class as exercises are done real-time in class.

 

ENGL 2102-002—Spreadsheet Lit: Excel

W 3:00-3:50.  107 Hyer Hall.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize data, professionally format worksheets, use and link worksheets, create tables and charts, and communicate results of their analyses in clear, readable prose. Students must bring laptop with most recent version of Excel to each class as exercises are done real-time in class.

 

ENGL 2302-001—Business Writing

TTh 12:30-1:50.  107 Hyer Hall.  Dickson-Carr, Carol.

Introduction to business and professional communication, including a variety of writing and speaking tasks, and the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. First priority is given to Markets & Cultures majors; second priority is given to upper-class Dedman students. Prerequisite: DISC 1312 or DISC 2305

 

ENGL 2302-002— Business Writing

TTh 2:00-3:20.  126 Clements Hall.  Dickson-Carr, Carol.

Introduction to business and professional communication, including a variety of writing and speaking tasks, and the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. First priority is given to Markets & Cultures majors; second priority is given to upper-class Dedman students. Prerequisite: DISC 1312 or DISC 2305.

 

ENGL 2311-001—Introduction to Poetry: Serious Word Games

TTh 2:00-3:20.  REMOTE.  Bozorth.               2012: CA2, W, OC     2016: LL, W, OC

Now GLUTEN-FREE: how to do things with poems you never knew were possible, and once you know how, you won’t want to stop. You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, and write about poems written centuries ago and practically yesterday. You will learn to distinguish exotic species like villanelles and sestinas. You’ll discover the difference between free verse and blank verse and be glad you know. You will impress your friends and family with metrical analyses of great poems and famous television theme songs. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, witches, God, Satan, and trochaic tetrameter. You’ll satisfy a requirement for the English major and a good liberal-arts education. Shorter and longer papers totally approximately 20 pages; midterm; final exam; class presentation. Text: Helen Vendler, ed., Poems, Poets, Poetry, Compact 3d ed.

 

ENGL 2311-002—Introduction to Poetry

TTh 12:30-1:50.  REMOTE.  Newman.           2012: CA2, W, OC     2016: LL, W, OC

“I, too, dislike it,” the poet Marianne Moore famously said about poetry; “there are things that are important beyond all this fiddle.” She is acknowledging the difficulty many readers have making sense of what is ostensibly written for pleasure and yet requires that we do some kind of intellectual or imaginative work. After all, a poem resists being boiled down to a simple “message”; cannot be adequately represented in a PowerPoint; is not written to be digested and deleted; defiantly offers nothing immediately practical or useful; and treats language as the medium of art, not of information. No wonder poetry sometimes seems alien to us, and why we need to learn to read it.  Learning to do so provides something useful nevertheless: a sharpened awareness of how language works. It can also bring a pleasure that grows on you slowly—or all at once. 

Texts: Helen Vendler’s Poems, Poets, Poetry and others TBD. Assignments: four shorter papers of increasing length; 1-2 presentations; discussion board postings; occasional short exercises; blue-book midterm and final exams.

 

ENGL 2311-003—Introduction to Poetry: A Poet-Guided Tour

MWF 1:00-1:50.  REMOTE.  Moss.                  2012: CA2, W, OC     2016: LL, W, OC

In this course, the poets themselves guide us through the formal elements and literary-historical evolution of English and American poetry. During the first half of the semester, each week will emphasize a different technical or generic aspect of poetry, focusing on a representative poet in each case. We will learn rhythm with William Blake, rhyme with Emily Dickinson, sonnet-form with William Shakespeare, persona with Langston Hughes, free verse with Walt Whitman and Allen Ginsberg. The second half explores perennial themes: poets addressing and questioning God; poets protesting social injustice; poets in love; poets struggling with age and loss; poets pondering nature, art, and poetry itself. Guest speakers include John Donne, Ben Jonson, John Keats, Robert Frost, William Butler Yeats, Elizabeth Bishop, Sylvia Plath, Seamus Heaney, and many more. Who knew there were so many poets? Come meet them. Course requirements: one short paper, one longer paper, one creative exercise, one recitation, regular posts to an online discussion board, midterm exam, final exam. Course text: The Norton Anthology of Poetry, 6th edition.

 

ENGL 2312-001—Introduction to Fiction

MWF 1:00-1:50.  110 Hyer Hall.  Satz. 2012: CA2, W    2016: LL, W

This course takes up the conventions and innovations in American fictions, from 1850 to the present. We are interested in how writers’ formal practices—in the short story, the novella, and the full-length novel—have changed over that century and a half; and in the ways that writers have used, for example, humor, fantasy, and historical incidents in their work. Along the way we will acquire a critical vocabulary and key concepts for thinking about some exemplary texts from a century and a half of American fictions. Our aim: to better think about, discuss, and appreciate what fictions do, and how, and why. Our texts: Herman Melville, Bartleby & Benito Cereno; Kate Chopin, The Awakening & Selected Stories; Nella Larsen, Passing: Nathanael West, Miss Lonelyhearts & The Day of the Locust; Raymond Chandler, The Big Sleep; Ishmael Reed, Mumbo Jumbo; Toni Morrison, Beloved; Cormac McCarthy, No Country for Old Men; and Denis Johnson, Train Dreams.

 

ENGL 2312-002—Introduction to Fiction: US Ethnic Literatures

TTh 11:00-12:20.  REMOTE.  Sae-Saue.          2012: CA2, W    2016: LL, W

This course is an introduction to fiction with an emphasis on U.S. ethnic novels.  The primary goals of the class are that students learn to recognize a range of narrative elements and to see how they function in key U.S. fictions. 

Each text we will read represents a specific set of historical and social relationships and they imagine particular U.S. identities. We shall investigate how fiction constructs cultural identities, comments on determinate historical moments, and organizes human consciousness around social history.

As such, we will conclude the class having learned how fiction works ideologically, understanding how the form, structure, and narrative elements of the selected texts negotiate history, politics, human psychology, and even the limitations of literary representation.

 

ENGL 2312-003—Introduction to Fiction: Classic Short Stories and Contemporary Novels

TTh 8:00-9:20.  REMOTE.  Edwards.              2012: CA2, W    2016: LL, W

What makes a good story? Does it entice its readers with a grand epic narrative, lovable characters, and a twist ending that sticks in the mind for years to come? Does it have to do anything at all? This course explores a variety of stories from the short stories of Washington Irving and Edgar Allan Poe to the searing critiques of modern society in Sylvia Plath and Toni Morrison. Throughout the semester, students will look for connections between American stories of the past and their relationship to our present. In particular, the class will think through how writers understand and deal with issues of race, class, gender, and sexuality to the ever-changing concept of the canon. What we might find is not simply an evolution of thought from Antebellum America to our present day but a variety of ways of constructing and performing the self. By the end of the class, students will be able to engage with concepts of narrative, character, plot, and historic contexts.

 

ENGL 2312-004—Introduction to Fiction: Art & Identity during the Harlem Renaissance

TTh 8:00-9:20.  100 Hyer Hall.  Kiser.                    2012: CA2, W    2016: LL, W

The Harlem Renaissance can be broadly defined as a cultural, social, and artistic movement that spanned the 1920’s and 1930’s, a time when African American writers, artists, and musicians sought to represent themselves within American culture through their work. This course will explore why such a movement burgeoned around the end of WWI, what this group of intellectuals hoped to gain from their movement, and why they turned to the arts to reach their political, cultural, and social goals. We will ask questions such as: How does representing a collective identity become complicated when various perspectives and voices are at stake? Is art always political or can it exist just for art’s sake? Progressing towards answering, “What was the Harlem Renaissance?,” we will explore why black writers during the Harlem Renaissance turned to fiction to debate and investigate the above questions.

 

ENGL 2315-001—Introduction to Literary Study: All Those Who Wander

TTh 11:00-12:20.  153 Fondren Science.  Wilson.             2012: CA2, W    2016: CA, W

Wanderers and wanderings have been literary staples from medieval quests to Oscar-winning films. In turn, the experience of reading a book or film for the first time can take on the quality of an unexpected journey, in which you are hopeful that the destination will be an interesting one, but you are not entirely sure either what it will be or how you will get there. This course will introduce methods of reading and approaches to texts that will help you to navigate a wide range of new literary landscapes by developing habits of wandering productively. Our journey will take us from the classical world to 21st-century America, through a wide array of genres, and accompanied by many different types of speaker. As we will seek to foster our individual literary critical voices, we may all end up at very different destinations but throughout we will be learning how best to make sense of even the most unexpected encounters.

 

ENGL 2315-002— Introduction to Literary Study: What Makes Sense

MWF 2:00-2:50.  REMOTE.  Cassedy.            2012: CA2, W    2016: CA, W

You’ve probably had the experience of reading a story or a poem, or watching a film or a TV show, or listening to a piece of music, or seeing an advertisement, and sensing that there’s something about what it’s doing that you can’t quite put into words.  This class is about learning to put it into words how meaning works — an introduction to the practice of analyzing how words and other symbols add up to meaning in a cinematic, visual, musical, or especially a literary text.  You will also learn how to write a compelling interpretation and argument about the meaning of things that are difficult to pin down.  Tentative reading list includes texts by Vladimir Nabokov (Lolita), William Shakespeare (King Lear), Leslie Jamison (The Empathy Exams), Edgar Allan Poe (Narrative of Arthur Gordon Pym), Mat Johnson (Pym), and Emily Dickinson.  Four essays, a midterm, and a final.

 

ENGL 2315-003— Introduction to Literary Study: After Emancipation

MWF 9:00-9:50.  REMOTE.  Edwards.                       2012: CA2, W    2016: CA, W

In understanding the changing nature of Black citizenship and subjecthood in the United States, “After Emancipation” traces a century of Black intellectual thought responding to the conception of freedom and liberty. In the wake of the Emancipation Proclamation and the Thirteenth Amendment in 1863 and 1865, respectively, Black Americans developed a complex literature that reckoned with these ideas. Although early theories of freedom suggested that the end of chattel slavery would reveal to white Americans the possibilities of a Black citizenry, this period instead led to new restrictions that prescribed roles for the newly emancipated. Yet as emancipation gave way to Black codes, Jim Crow, and other forms of institutional racism, Black novels, plays, poetry, and music responded in kind by defining the contours of Black life. This course looks to major transitions in conceptions of Black freedom, from the creation of cultural practices at the turn of the twentieth century, to the international aspects of the Harlem Renaissance, to the aftermath of Martin Luther King Jr.’s “Dream.” By examining this rich literary tradition, students will come to understand the multifaceted ways that these texts are in conversation with the changing contours of the United States. The course ends by putting one of the most important abolitionist texts, Uncle Tom’s Cabin, in conversation with Toni Morrison’s radical rewrite of the aftermath of Emancipation. As students finish their final assignments, this “looking backwards” provides an opportunity to think back upon the course to remind us all of the changing discourses of freedom.

Designed as an entry level course for prospective majors and those completing their distribution requirements, “After Emancipation” focuses on reading primary texts and close readings. Students will submit ten reading responses and two critical essays during the semester.

 

ENGL 2390-001—Introduction to Creative Writing: Introduction to Fiction Writing

TTh 11:00-12:20. REMOTE. Rubin.           2012: CA1, W   2016: CA, W

An introductory workshop that will focus on the fundamentals of craft in the genre of fiction writing. Students will learn the essential practice of “reading like a writer” while developing their own work and helpfully discussing their classmates’.

 

ENGL 2390-002H—Introduction to Creative Writing: MAKE IT NEW!

TTh 3:30-4:50.  REMOTE.  Brownderville.    2012: CA1, W   2016: CA, W

Percy Bysshe Shelley once wrote that poetry “purges from our inward sight the film of familiarity which obscures from us the wonder of our being. It compels us to feel what we perceive, and to imagine that which we know.” Ezra Pound, more succinctly, instructed his fellow poets to “make it new!” Pound believed that poets should make the world new—and make poetry new—by presenting life in bold, original verse.

Students will write and revise their own poems, respond both verbally and in writing to one another’s work, and analyze published poems in short critical essays. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communications skills. As this is an introductory course, prior experience in creative writing is not necessary. Students will be invited to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary American poetry.

 

ENGL 2390-003—Introduction to Creative Writing

MWF 2:00-2:50.  115 Dallas Hall.  Smith.                2012: CA1, W   2016: CA, W

In this class, students will read, write, critique and revise fiction. A significant portion of class time will be devoted to the workshop of students’ short stories. Toward the end of the semester, students will be required to present one of their stories publicly.

 

ENGL 2390-004—Introduction to Creative Writing

CANCELED

 

ENGL 2390-005—Introduction to Creative Writing

MWF 12:00-12:50.  115 Dallas Hall.  Smith. 2012: CA1, W   2016: CA, W

In this class, students will read, write, critique and revise fiction. A significant portion of class time will be devoted to the workshop of students’ short stories. Toward the end of the semester, students will be required to present one of their stories publicly.

 

ENGL 2390-006—Introduction to Creative Writing: The Writer’s Toolkit

TTh 2:00-3:20.  REMOTE.  Hermes, R.. 2012: CA1, W   2016: CA, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

This course will explore the foundational aspects of creative writing in prose and poetry. To prepare ourselves to write our own stories and poems, we will begin by reading published workalong with craft essays that talk about the writing process. These readings are meant to stimulate discussion about what makes a successful poem or story and to provide models for your own creative work.

During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. It is important, therefore, that all students engage in active and respectful participation every class period, so that we can all make the most of this opportunity to sharpen our critical and creative skills.

 

ENGL 3310-001—Contemporary Approaches to Literature

TTh 9:30-10:50.   REMOTE.  Greenspan.

This is a gateway course designed as an intensive introduction to the study of literary texts. It explores several key questions: What is a text? What are some of the approaches thoughtful critics have taken in recent years to the analysis of texts? How do we as readers make sense both of texts and of their critics? And how, in practice, does each of us progress from the reading to the written analysis of texts?
The course consists of five modules in which we explore these questions in relation to a handful of major literary texts of the nineteenth and twentieth centuries. In each one, we will employ a combination of lecture, discussion group activity, and writing exercises with the goal of refining our critical thinking, reading, and writing skills.

 

ENGL 3320-001—Topic in Medieval Literature: Paradigms of Truth in Medieval Literature

TTh 12:30-1:50.   REMOTE.  Amsel.               2012: CA2, W  2016: HFA, W

This course looks at fact and fiction in literature from and about the Middle Ages, exploring issues of real and imagined histories and legends. How is it that we make history? And, how do we discern truth? Sounds familiar to us because we are still grappling with questions of real truths vs. fake truths in our everyday lives. Our readings will take us from a popular grail story, back through medieval sources and texts, to learn about medieval paradigms still present in contemporary culture.

 

ENGL 3355-001—Transatlantic Encounters III: Political Theater: Modern Drama and the Arts of Assembly

MWF 10:00-10:50.   REMOTE.  Kastleman.    2012: CA2, GE, HD   2016: HFA, GE, HD

Politics relies on spectacle. Many core components of political action—from campaigns to protests, from conducting trials to enacting laws—require political actors to attend to certain elements of theater, including performance, audience, and setting the scene. The fact that the activities of modern politics borrow from the theater was not lost on major modern playwrights, who harnessed the structural features of theater in order to create new spaces for political deliberation and social transformation. Dramatists such as Bertolt Brecht celebrated the theater as a means of developing the capacity for political judgment, while contemporary playwrights including Suzan Lori-Parks and Larissa FastHorse have shown how theater can prompt reckonings with historical injustice. These innovative dramatists have explored theater’s distinctive “art of assembly,” in which audiences are drawn together to form judgments in the company of others. In this course, we consider how the theater both reflects and generates the mechanisms of political decision-making. We approach these topics by examining a wide range of influential dramatic works from throughout the English-speaking world. Our conversations will continually attend to aspects of live performance, including dramaturgy, design, embodiment, movement, and direction, and students will be asked to view at least one live theater event over the course of the semester. Students will hone their ability to analyze dramatic form and to evaluate the cultural, historical, and political contexts of performance.

 

ENGL 3362-001—African-American Literature: Reimagining Slavery

TTh 12:30-1:50.  REMOTE.  Pergadia.           2012: CA2, HD, W     2016: HFA, HD, W

This course considers a variety of imaginative works that remember, memorialize, and recreate the experience of American slavery—the neo-slave novels of Toni Morrison and Octavia Butler, the artwork of Kara Walker, the cinematic adaptation of Solomon Northup’s 12 Years a Slave, The 1619 Project. Beginning with the canonical slave narratives of Frederick Douglass and Harriet Jacobs, students will gain an understanding both of the lives of Americans in bondage and how those lives transformed into stories that continue to shape our national consciousness. Students will learn how to analyze literary and visual art to ask: How do aesthetic forms become vehicles for social and political protest? What are the ethics of remembering? 

 

ENGL 3366-001—American Literary History II: America the Multiple

TTh 2:00-3:20.  REMOTE.  Greenspan.         2012: CA2, HC2, W    2016: HFA, HSBS, W

This course will explore a wide variety of fictional voices and visions produced in America over the period 1900 to the present. A continuing focus will be on ways that writers interrelate historical and fictional time. Writers to include Abraham Cahan (The Rise of David Levinsky), Willa Cather (My Antonia), Ernest Hemingway (In Our Time), William Faulkner (Go Down, Moses), Toni Morrison (Song of Solomon), Octavia Butler (Kindred), Tillie Olsen (Tell Me a Riddle), Michael Chabon (The Amazing Adventures of Kavalier & Clay), and Richard McGuire (Here).

 

ENGL 3367-001—Ethical Implications of Children's Literature

MWF 11:00-11:50.  REMOTE.  Satz.                2012: CA2, HD, KNOW, OC, W    2016: HFA, HD KNOW, OC, W

An opportunity to revisit childhood favorites and to make new acquaintances, armed with the techniques of cultural, literary, and philosophical criticism. This course ranges from fairy tales through picture books and young children’s chapter books to young adult fiction. This course will examine literature from an ethical perspective, particularly notions of morality and evil, with emphasis upon issues of colonialism, race, ethnicity, gender, sexual identity, and class. Examples of texts: Snow White,” accompanied by critical essays; picture books such as Where the Wild Things Are, The Giving Tree, Amazing Grace, Curious George, Babar; chapter books for young children such as Wilder, Little House on the Prairie; White, Charlotte’s Web; books for young adults such as Wonder and Absolute True Diary of a Part-time Indian. Four short papers and a final.

 

ENGL 3370-001—Special Topics: Life Writing

CANCELED

 

ENGL 3390-001—Creative Writing Workshop: Advanced Screenwriting Workshop

TTh 3:30-4:50.   REMOTE.  Rubin.       2012: CA2, W   2016: HFA, W

In this advanced course students will present their own screenwriting as well as critique that of their classmates. Alongside these workshops we will analyze exemplary models of the form and study film clips to understand the ways compelling dialogue is written and satisfying scenes are structured. Readings will include such classics as Casablanca and Chinatown as well as newer scripts like Lady Bird and Get Out. ENGL 2390 is a prerequisite for this course although Meadows students with a background in dramatic arts are encouraged to seek the permission of the instructor.

 

ENGL 3390-002 Creative Writing Workshop: Voice

TTh 12:30-1:50.  REMOTE.  Brownderville.   2012: CA2, W   2016: HFA, W

Long before poems were written down or printed in books, they were sung, chanted, or spoken. The voice of a deft reciter gave poetry a special timbre and texture.

In the modern era, when speaking of a poet’s “voice,” we have mostly used the term metaphorically. A writer’s voice is largely a matter of style: diction, syntax, formal habits, rhetorical idiosyncrasies, and so on. Because of the technology of the book, we have learned to think of poetry primarily as a thing we encounter not as sounds in the air but as words on a page. The printing press, if never quite rendering the human voice obsolete as a vehicle of literature, certainly went a long way toward ending the oral tradition as we had known it.

In the twenty-first century, all of that is changing, and changing rapidly. Take, for instance, the growing popularity of well-written podcasts. Many of us, while walking the dog, cooking dinner, or commuting, are listening to podcasts regularly, some of us obsessively. Human beings might be listening to carefully crafted language more than at any time in recent history. Which is to say: technology, which once took the oral tradition away from us, is now giving it back.

What does this mean for poetry, and for our ideas about poetic “voice” and genre? What special opportunities does current technology present to word-artists? These questions are at the heart of ENGL 3390: VOICE.

In this workshop-based course, we will attend to the conventional elements of craft that contribute to poetic voice in the metaphorical sense (i.e. style). But we will also explore how podcasts, live poetry events, and video can change the ways we make and experience poems.

 

ENGL 3390-003 Creative Writing Workshop: You Are What You Read

MWF 12:00-12:50.  REMOTEHermes, K. (Condon).          2012: CA2, W   2016: HFA, W

When we read poetry by other people, we consume and internalize not only their ideas but also their methods. In this sense even history’s greatest poets were apprentices all of their lives, constantly learning from the aesthetic choices of other writers.

We will continue our own apprenticeship in this advanced workshop by cultivating a daily reading and writing practice. At the center of our practice is the daybook, a large sketchbook that modernist writers often used for their daily musings, doodles, and drafts. We will use our daybooks in much the same way, with the added daily prompt of transcribing and then imitating a poem by another writer. Such transcription is a physical practice—it works that poet’s linguistic perspective and formal attention into our memory. Our original, imitative draft that follows transcription attunes us to the aesthetic modes we feel most comfortable in and challenges us to write beyond them.

We will read and write toward poems by Anne Carson, Rita Dove, Dorothea Lasky, Frank O’Hara, W.S. Merwin, Joy Harjo, Kenneth Koch, Rainier Maria Rilke, Louise Glück, and June Jordan, to name just a few.

 

ENGL 4323-001—Chaucer: Chaucer’s Shorter Poems

TTh 11:00-12:20.  REMOTE.  Wheeler.           2012: IL, OC   2016: IL, OC

Geoffrey Chaucer’s corpus of prose and poetry, its literary, historical, philosophical contexts, served with a sprinkling of some of Chaucer’s favorite classics. Textbook: The Riverside or Wadsworth Chaucer. Other authors include Homer, Virgil, Boethius, and Ovid. Weekly commentaries, several oral presentations, one term paper.

 

ENGL 4330-001—Renaissance Writers: Donne & Herbert

MWF 1:00-1:50.  152 Dallas Hall.  Rosendale.         2012: IL, OC   2016: IL, OC

This course focuses on the amazing work of two of early modern England’s greatest (and most formally innovative) lyric poets and analysts of desire.  John Donne and George Herbert were two seventeenth-century Anglican clergymen—the latter a quiet country parson, the former a brilliantly urbane (and often scandalous) social climber and eroticist—who also happened to be remarkable poets, the best-known writers of what has retrospectively become known as “metaphysical poetry.”  We’ll read many of Donne’s poems, and nearly all of Herbert’s, taking time to focus in depth on a selected number of them.  Our readings of the poetry will be complemented by some of their prose works, and by extensive engagement with current criticism.  By the end of the course, you will know these writers

 

ENGL 4341-001—Victorian Writers: The Novels of the Brontës

TTh 3:30-4:50.  REMOTE.  Newman.            2012: IL, OC   2016: IL, OC

When the novels of Currer, Ellis, and Acton Bell (known to posterity as Charlotte, Emily, and Anne Brontë) appeared within three months of one another in 1847, they created a sensation.  Who were these unknown writers who produced such fresh, imaginative, compelling (or, as some thought, immoral, disgusting) stuff? Were they really one person, as some people claimed, and if so, male or female?  Today the novels of the three Brontë sisters are among the most widely read English novels in the world.  This is a good time to study them.  The year 2020 marks the bicentenary of Anne Brontë’s birth.  The often-invoked “Brontë myth”—the story of three sheltered, virginal, untutored sisters from a backward village in the north of England who lived austere lives but somehow understood passion—has been studied, corrected, debunked.  Meanwhile, films, novels based on the Brontës, novels about the Brontës, new biographies, and new scholarship continue to appear. 

Let’s see what the fuss is about.  We’ll read the six main novels in the context of their times; consider their lives, the reception of their work over the last century and three quarters, and the development of the “myth”; and perhaps peek at some film versions as well.  Texts:  C. Brontë: Jane Eyre; Shirley; Villette; E. Brontë: Wuthering Heights; A. Brontë: Agnes Grey; The Tenant of Wildfell Hall. (Please buy the Oxford editions of everything except Jane Eyre and Wuthering Heights, for which we will use my Bedford and Broadview editions respectively.)  

Requirements:  2-3 Short papers; “low-stakes” discussion board postings; one research paper on a topic to be determined in consultation with instructor; 1–2 in-class presentations; possible blue-book midterm and/or final.

 

ENGL 4360-001—Studies in Modern and Contemporary American Literature: End Times: American Apocalyptic Fictions

MWF 2:00-2:50.  110 Dedman Life Sciences Building.  Satz. 2012: CA2, IL, OC   2016: HFA, IL, OC

Visions of the end-times have circulated at least since the apostle John’s revelation in the Bible’s last book. Secular versions of the last days, as in English writer Mary Shelley’s 1826 novel, The Last Man, have focused on world-ending crises such as pandemic disease, nuclear warfare, and environmental catastrophe. And yet, grim as these fictions are, they remain in circulation. Indeed, the acclamation for Ling Ma’s multi-award winning 2019 novel Severance, published a year before the 2020 coronavirus pandemic, underscores the wide and sustained public interest in these fictions, and gives our studies a timely, sharper edge. We will work chronologically through our required texts. Plan on two short papers, a mid-term, and a longer final paper to wrap up our work.  

 

ENGL 5310-001—Seminar in Literary Theory

MWF 10:00-10:50.  REMOTE.  Satz.

This is course fulfills the first part of the requirements for Distinction in English

The center of the Distinction requirement is an independent study project in literature or creative writing that you undertake with a member of the faculty.   This course will deal with critical race, gender, and disability theory and literary texts that provide rich occasions to discuss those critical theories.  Examples of literary texts:  Morrison, The Bluest Eye, Campbell, 24 Hour Hold, Bronte, Villette  The course is also designed to advance research skills.  The student will projects ranging from a two minute oral report to a longer essay leading toward a distinction project.

 

ENGL 6310-001—Advanced Literary Studies

Th 3:30-6:20.  REMOTE.  D. Dickson-Carr. 

An introduction to advanced graduate work in literary studies. Our course will focus on definitions of texts and the languages within them, standards and processes of careful literary scholarship, and the profession’s complexities. The first unit will comprise a short survey of book and manuscript history, including how oral and written texts become books, with the attendant authority and problems contained therein. The second unit will focus on scholarly indexes and databases, both analog and digital; archival research; creation of bibliographies and their uses. The final unit will focus on our profession: how the study of literature developed into a profession; the roles of critical theory; professional organizations; developing and presenting scholarly work in professional settings; the paths to publication; the means to enter different levels of the professoriate. In addition to readings that explore all of these subjects, our course will make use of the DeGolyer and Bridwell Libraries, the occasional guest speaker, and participants’ regular short writings and in-class presentations. We will surround a number of short literary texts—stories and poems--and one longer work with secondary readings that define and challenge the goals of literary scholarship. The longer text is to be determined.

Texts: MLA Style Manual and Guide to Scholarly Publishing, Third Edition; Introduction to Scholarship in Modern Languages and Literatures, Third Edition; Handbook for Academic Authors, Fifth Edition, by Beth Luey.

 

ENGL 6311-001—Survey of Literary Criticism and Theory

M 3:00-5:50.  117 Dedman Life Sciences Building.  Sudan.

 

ENGL 6312-001—Teaching Practicum

F 1:00-3:50.  REMOTE.  Stephens.

English 6312 is designed to prepare graduate students in English seeking a Ph.D. to teach first-year writing at the college level and, in a larger sense, to design, prepare for, and teach college English classes at any level. Students will read and present texts on pedagogical approaches, as well as participate in teaching observations. Students need permission to enroll in this course.

 

ENGL 6330-001—Early Modern British Literature: The Digital Edition

TTh 12:30-1:50.  428A Heroy Hall. Wilson.

In 2000, Jonathan Sawday and Neil Rhodes co-edited The Renaissance Computer charting the information revolution that came about with the advent of printed books and considering the ramifications of this revolution for all kinds of different branches of study and inquiry. The collection traces connections between information innovations in early modern Europe and those taking place in our modern digital information culture. Twenty years on, this course revisits this approach to set modern advances in networked information and digital communications and analytical capabilities alongside parallel advances in the earlier information revolution that both characterizes and catalyzes the early modern period, the printing press and its concomitant vocabulary documenting and driving the expansion of knowledge and knowledge horizons. Are there only metaphoric or actual, living genealogical connections between the early modern and modern information explosions? What can we learn by putting modern digital ideas into dialogue with early modern precursors or counterparts?  What did it mean then, and what does it mean now, to live in an information society? We will begin by thinking in theoretical terms about ways in which early modern and modern people conceptualize information, its creation, organization, and dissemination. Then in the second part of the course we will put these theories into practice, working with early modern books from our own archives on campus to understand how these were originally printed, and then to apply modern digital technology to create our own encoded digital editions and interpretations of these texts. Through a combination of theory and practice we will seek new understandings of the relationship between literature and technology, and what this relationship means both for early modern people and for us today.

 

ENGL 7370-001—Seminar in Minority Literature

T 3:30-6:20.  REMOTE.  Sae-Saue.

This course explores how Chicanx literature, from the 19th century to the contemporary era, articulates historical and social concerns through aesthetic designs. We will read some of the most influential texts of the canon and examine how their formal arrangements communicate the community’s diverse political values across distinct episodes of US history. As such, students will learn to recognize the relationship between ideology and form in Chicanx culture, including the significance of its aesthetic experiments. Furthermore, students will familiarize themselves with the field’s critical history in order to position themselves to make possible interjections in on-going (and sometimes contentious) conversations surrounding this political culture.  

Texts include: George Washington GómezLoving in the War Years (lo que nunca pasó por sus labios); The People of Paper; The Squatter and the Don; Caballero; works by Teatro Campesino; God’s Go Begging; and more.

 

ENGL 7372-001—Seminar in Transatlantic Literature: Archives Workshop

W 3:00-5:50.  REMOTE.  Cassedy.

A hands-on workshop in the theories, practices, and methods of using archival resources in literary studies.  Designed to be useful to students working in any national, period, or genre specialization, this course will survey recent work being done with archives by literary and cultural historians, introduce students to archival resources available in and around Dallas, and provide practical training in working with physical and digitized archival materials.  Each student will develop and undertake an archivally driven research project, culminating in a seminar paper.

Cat #

Sec

Course Title

Instructor

Days

Start

End

Room

UC Tags

1320

001

Cultures of Medieval Chivalry: COURAGE! HONOR! SHAME! ROMANCE! DRAGONS!

Goyne

TTh

11:00

12:20

REMOTE

2012: CA1, HC1, OC 2016: LL, HC, OC

1330

001

World of Shakespeare

Rosendale/

Moss

MWF

10:00

10:50

MoodyMil

2012: CA1 2016: LL

1365

001

Literature of Minorities: “Otherness” and Identity in American Culture

Levy

TTh

2:00

3:20

FOSC 133

2012: CA1 , HD 2016: LL, HD

2102

001

Spreadsheet Lit: Excel

C. Dickson-Carr

M

3:00

3:50

HYER 201

 

2102

002

Spreadsheet Lit: Excel

C. Dickson-Carr

W

3:00

3:50

HYER 107

 

2302

001

Business Writing

C. Dickson-Carr

TTh

12:30

1:50

HYER 107

2012: IL, OC, W 2016: IL, OC, W

2302

002

Business Writing

C. Dickson-Carr

TTh

2:00

3:20

CLEM 126

2012: IL, OC, W 2016: IL, OC, W

WRTR 2305

001H

Honors Humanities Seminar I

Arbery

MWF

9:00

9:50

DSLB 110

 

WRTR 2305

002H

Honors Humanities Seminar I

Arbery

MWF

10:00

10:50

DH 142

 

WRTR 2305

003H

Honors Humanities Seminar I

Arbery

MWF

11:00

11:50

CLEM 126

 

WRTR 2305

004H

Honors Humanities Seminar I

Hopper

MWF

12:00

12:50

REMOTE

 

WRTR 2305

005H

Honors Humanities Seminar I

Hopper

MWF

1:00

1:50

REMOTE

 

WRTR 2305

006H

Honors Humanities Seminar I

Hopper

MWF

2:00

2:50

REMOTE

 

WRTR 2305

007H

Honors Humanities Seminar I

McConnell

TTh

9:30

10:50

CLEM 126

 

WRTR 2305

008H

Honors Humanities Seminar I

McConnell

TTh

11:00

12:20

DH 152

 

WRTR 2305

009H

Honors Humanities Seminar I

McConnell

TTh

12:30

1:50

CLEM 126

 

WRTR 2305

010H

Honors Humanities Seminar I

McConnell

TTh

2:00

3:20

DH 152

 

WRTR 2305

011H

Honors Humanities Seminar I

Bozorth

TTh

11:00

12:20

REMOTE

 

WRTR 2305

012H

Honors Humanities Seminar I

Ivie

TTh

12:30

1:50

DLSB 132

 

 WRTR 2305
013H

Honors Humanities Seminar I

Ray
MWF  9:00  9:50 DH 115
 
 WRTR 2305  014H

Honors Humanities Seminar I

Arbery
MWF
12:00
12:45
DH 142
 

2311

001

Poetry: Serious Word Games

Bozorth

TTh

2:00

3:20

REMOTE

2012: CA2, OC, W 2016: LL, (OC), W

2311

002

Poetry

Newman

TTh

12:30

1:50

REMOTE

2012: CA2, OC, W 2016: LL, (OC), W

2311

003

Poetry: A Poet-Guided Tour

Moss

MWF

1:00

1:50

REMOTE

2012: CA2, OC, W 2016: LL, (OC), W

2312

001

Fiction: Forms, Modes, & Kinds

Satz

MWF

1:00

1:50

HYER 110

2012: CA2, W 2016: LL, W

2312

002

Fiction: US Ethnic Literatures

Sae-Saue

TTh

11:00

12:20

REMOTE

2012: CA2, W 2016: LL, W

2312

003

Fiction: Classic Short Stories and Contemporary Novels

Edwards

TTh

8:00

9:20

REMOTE

2012: CA2, W 2016: LL, W

 2312 004
 

Fiction: Art & Identity during the Harlem Renaissance

Kiser
 TTh  8:00 9:20
FOSC 153

2012: CA2, W 2016: LL, W

2315

001

Intro to Literary Study: All Those Who Wander

Wilson

TTh

11:00

12:20

FOSC 153

2012: CA2, W 2016: CA, W

2315

002

Intro to Literary Study: What Makes Sense

Cassedy

MWF

2:00

2:50

REMOTE

2012: CA2, W 2016: CA, W

2315

003

Intro to Literary Study: After Emancipation

Edwards

MWF

9:00

9:50

REMOTE

2012: CA2, W 2016: CA, W

2390

001

Intro to Creative Writing: Introduction to Fiction Writing

Rubin

TTh

11:00

12:20

REMOTE

2012: CA1, W 2016: CA, W

2390

002H

Intro to Creative Writing (Honors): MAKE IT NEW!

Brownderville

TTh

3:30

4:50

REMOTE

2012: CA1, W 2016: CA, W

2390

003

Intro to Creative Writing

Smith

MWF

2:00

2:50

DH 115

2012: CA1, W 2016: CA, W

2390

004

Intro to Creative Writing

CANCELED


 

 
 

2390

005

Intro to Creative Writing

Smith

MWF

12:00

12:50

DH 115

2012: CA1, W 2016: CA, W

 2390 006

Intro to Creative Writing:
The Writer’s Toolkit

Hermes. R
TTh
 2:00  3:20

REMOTE

2012: CA1, W 2016: CA, W

3310

001

Contemporary Approaches to Literature

Greenspan

TTh

9:30

10:50

REMOTE

 

3320

001

Topics in Medieval Literature: Paradigms of Truths in Medieval Literature

Amsel

TTh

12:30

1:50

REMOTE

2012: CA2, W 2016: HFA, W

3355

001

Transatlantic Encounters III: Political Theater: Modern Drama and the Arts of Assembly

Kastleman

MWF

10:00

10:50

REMOTE

2012: CA2, GE, HD 2016: HFA, GE, HD

3362

001

African-American Literature: Reimagining Slavery

Pergadia

TTh

12:30

1:50

REMOTE

2012: CA2, HD, W 2016: HFA, HD, W

3366

001

American Literary History II: America the Multiple

Greenspan

TTh

2:00

3:20

REMOTE

2012: CA2, HC2, W 2016: HFA, HSBS, W

3367

001

Ethical Implications of Children's Literature

Satz

MWF

11:00

11:50

REMOTE

2012: CA2, HD, KNOW, OC, W 2016: HFA, HD KNOW, OC, W

3370

001

Special Topics: Life Writing

CANCELED

 

 

 

 

 

3390

001

Creative Writing Workshop: Advanced Screenwriting Workshop

Rubin

TTh

3:30

4:50

REMOTE

2012: CA2, W 2016: HFA, W

3390

002

Creative Writing Workshop: Voice

Brownderville

TTh

12:30

1:50

REMOTE

2012: CA2, W 2016: HFA, W

3390

003

Creative Writing Workshop: You Are What You Read

Hermes, K. (Condon)

MWF

12:00

12:50

REMOTE

2012: CA2, W 2016: HFA, W

4323

001

Chaucer: Chaucer's Shorter Poems

Wheeler

TTh

11:00

12:20

REMOTE

2012: IL, OC 2016: IL, OC

4330

001

Renaissance Writers: Donne & Herbert

Rosendale

MWF

1:00

1:50

DH 152

2012: IL, OC 2016: IL, OC

4341

001

Victorian Writers: The Novels of the Brontës

Newman

TTh

3:30

4:50

REMOTE

2012: IL, OC 2016: IL, OC

4360

001

Studies in Modern and Contemporary American Literature: End Times

Satz

MWF

2:00

2:50

DLSB 110

2012: CA2, IL, OC 2016: HFA, IL, OC

5310

001

Distinction Seminar

Satz

MWF

10:00

10:50

REMOTE

 

6310

001

Advanced Literary Study

Carr,Darryl

Th

3:30

6:20

REMOTE

 

6311

001

Survey of Literary Criticism

Sudan

M

3:00

5:50

DLSB 117

 

6312

001

Teaching Practicum

Stephens

F

1:00

3:50

REMOTE

 

6330

001

Early Modern British Literature: The Digital Edition

Wilson

TTh

12:30

1:50

HERY 428A

 

7370

001

Seminar in Minority Literature

Sae-Saue

T

3:30

6:20

REMOTE

 

7372

001

Seminar in Transatlantic Literature: The Archives Workshop

Cassedy

W

3:00

5:50

REMOTE

 

                 

Summer 2020

SUMMER SESSION 2020 COURSES

 

Cat #

Sec

Session

Course Title

Instructor

Day

Start

End

Room

UC

2302

0011

S1

Business Writing

Dickson-Carr, C.

MTWThF

1:00 AM

2:50 AM

REMOTE

 

3367

0011

S1

Ethical Impl - Children's Lit

Satz,Martha G

MTWThF

10:00 AM

11:50 AM

REMOTE

2012: CA2, KNOW, HD, OC, W

2016: HFA, KNOW, HD, W

3379

0011

S1

Contexts of Disabilitiy

Satz,Martha G

MTWThF

12:00 PM

1:50 PM

REMOTE

2012: CA2, KNOW, HD, OC, W

2016: HFA, KNOW, HD, OC, W

 2302  0022  S2  

Business Writing

Dickson-Carr, C.
 

MTWThF

 1:00 PM
 2:50 PM
 REMOTE  
ENGL/ DISC 2306

0012

S2

Honors Humanities Seminar II

Doyle

MTWThF

10:00 AM

11:50 AM

REMOTE

 

 

 

 

 

 

 

 

 

 

 

 

 

 

FIRST SUMMER 2020 SESSION 

COURSE DESCRIPTIONS

ENGL 2302-0011 Business Writing

M – F  1:00-2:50. 102 Dallas Hall. Dickson-Carr, C.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 3367-0011 Ethical Implications of Children’s Literature

M – F  10:00-11:50. 105 Dallas Hall. Satz. 2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, W

An opportunity to revisit childhood favorites and to make new acquaintances, armed with the techniques of cultural and literary criticism. Examination of children's literature from an ethical perspective, particularly notions of morality and evil, with emphasis upon issues of colonialism, race, ethnicity, gender, and class. Writing assignments: four essays, final examination. Texts: “Snow White,” accompanied by critical essays; picture books such as Where the Wild Things AreThe Giving TreeAmazing GraceCurious GeorgeBabar; chapter books for young children such as Wilder, Little House on the Prairie; White, Charlotte’s Web; Erdrich, Game of Silence; books for young adults such as L’Engle, Wrinkle in Time; Alexie, The Absolute True Diary of a Part Time Indian; Yang, American Born Chinese; and one adult book, Morrison, The Bluest Eye.

 

ENGL 3379-0011—Contexts of Disability

M – F  12:00-1:50.  105 Dallas Hall.  Satz. 2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, W

This course deals with the literary and cultural portrayals of those with disability and the knotty philosophical This course deals with the literary and cultural portrayals of those with disability and the knotty philosophical and ethical issues that permeate current debates in the disability rights movement. The course also considers the ways issues of disability intersect with issues of gender, race, class, and culture. A wide variety of issues, ranging from prenatal testing and gene therapy through legal equity for the disabled in society, will be approached through a variety of readings, both literary and non-literary, by those with disabilities and those currently without them. Writing assignments: three short essays, one longer essay; mid-term, final examination.

 

FIRST SUMMER 2020 SESSION 

COURSE DESCRIPTIONS

 

ENGL 2302-0022 Business Writing

M – F  1:00-2:50. REMOTE. Dickson-Carr, C.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

ENGL 2306-0012Honors Humanities Seminar II

M – F  10:00-11:50. REMOTE. Doyle.