English Courses

Course Descriptions, Spring 2011

Class Numbers are included in parentheses following the course number and are followed, when applicable, by the previous course catalogue number.

ENGL 1360-001+ (4473). THE AMERICAN HEROINE. 1 MWF. Dallas Hall 306. Schwartz.

Works of American literature as they reflect and comment upon the evolving identities of women, men, and culture from the mid-19th Century to the contemporary period. Novels will be supplemented by other readings. Several short writing assignments; midterm and final examinations; some quizzes.

Texts: Chopin, The Awakening; Brent, Incidents in the Life of a Slave Girl; Cather, A Lost Lady; Morrison, The Bluest Eye; Erdrich, Tracks; Oates, Black Water.

ENGL 1365-001H#+ (4751). LITERATURE OF MINORITIES. 12 MWF. Dallas Hall 120. Levy.

The course interrogates from historical and literary perspectives the category of "minority" as a cultural paradox, one that simultaneously asserts and marginalizes identity. Particular attention will be paid to the issue of identity as both self-selected and imposed, as both fixed and flexible, as both local and global. Writing assignments: two essays, mid-term, final examination.
Texts: Ayala, American Chica; Bechdel, Fun Home; Tomine, Shortcomings, Urrea, Devil's Highway; Roth, Goodbye, Columbus; Hegedorn, Charlie Chan is Dead; Ulen, Crystelle Morning, and selected short stories distributed throughout the term.

ENGL 1385-001+ (2540). HISTORY OF BRITISH LITERATURE. 11 MWF. Dallas Hall 306. Rosendale.

A one-semester introductory overview of British literature, from its medieval beginnings to (almost) the present day. As we survey this history, and trace the story of one of the world’s great cultural treasures, we will consider not just literature, but also its relation to the social, political, intellectual, and religious histories in which it was written. Authors covered will include Chaucer, Langland, Shakespeare, Sidney, Wroth, Donne, Milton, Behn, Swift, Johnson, Wordsworth, Keats, Browning, Rossetti, Tennyson, Woolf, Joyce, Eliot, and Beckett. Method of instruction: lecture and discussion. Methods of evaluation: midterm and final exams, quizzes, two short essays, participation.

Texts: TBA.

ENGL 2302-001 (4964). BUSINESS WRITING. 12:30 TTh. Dallas Hall 343. Tongate.

This course introduces students 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. 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. The course meets in a computer lab, and may not be counted toward requirements for the English major. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written.

Texts: Kolin, Successful Writing at Work, 8th ed; additional readings posted on Blackboard or distributed in class.

ENGL 2302-002 (4965). BUSINESS WRITING. 2 TTh. Dallas Hall 351. Tongate.

This course introduces students 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. 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. The course meets in a computer lab, and may not be counted toward requirements for the English major. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written.

Texts: Kolin, Successful Writing at Work, 8th ed; additional readings posted on Blackboard or distributed in class.

ENGL 2310-001+ (4478). IMAGINATION & INTERPRETATION: THE BIRTH OF MODERNISM. 10 MWF. Dallas Hall 120. Walker Edin.

The conflicted and creative movement known as Modernism might be summed up by Ezra Pound’s ironic and iconic challenge to “make it new!” Yet the stylistic and thematic innovations of Modernism begin to surface years before, just as “old” Victorian themes linger in Modern texts. In this course, we will investigate together places of anticipation and nostalgia in canonical and non-canonical literature. Assigned reading will include Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Joseph Conrad’s Heart of Darkness, and Virginia Woolf’s Orlando, as well as short stories by James Joyce, poetry by Thomas Hardy, and selections from the “New Woman” writers. Course requirements include weekly reading responses, three short papers, a mid-term, and a final exam.
Texts: Robert Louis Stevenson, The Strange Case of Dr. Jekyll and Mr. Hyde; Joseph Conrad, Heart of Darkness; Virginia Woolf, Orlando; A New Woman Reader: Fiction, Articles, and Drama of the 1890s, edited by Carolyn Christensen Nelson; and other selected texts.

ENGL 2310-002+ (4480). IMAGINATION & INTERPRETATION. 11 TTh. Dallas Hall 357. Anderson.

The legend of King Arthur has fascinated and engaged readers for nearly a thousand years. This class will examine the major texts of Arthurian literature beginning with its medieval roots in Geoffrey of Monmouth’s History of the Kings of Britain, the romances of Chrétien de Troyes, and Malory’s Morte Darthur. It will also consider later iterations of the legend, from Spenser’s Faerie Queene to the Victorian return to Camelot, from Mark Twain’s A Connecticut Yankee in King Arthur’s Court to T.H. White’s The Once and Future King. Along the way, we will ask (and perhaps begin to answer) who writes about King Arthur? Why do they do so, and what do we gain from exploring this material? Why does the legend continue to have such a grasp on our collective imagination? Weekly responses to the reading, quizzes, three short papers, a midterm and a final exam will be required.
Texts: Geoffrey of Monmouth – The History of the Kings of Britain; Anon. – Culhwch and Olwen; Chrétien de Troyes – Arthurian Romances; Anon. - Sir Gawain and the Green Knight; Sir Thomas Malory – Works(selections); Edmund Spenser – The Faerie Queene (selections); Mark Twain – A Connecticut Yankee in King Arthur’s Court; T.H. White – The Once and Future King; additional excerpts from Gildas, Nennius, Chaucer, and a selection of medieval romances; possible films include Monty Python and the Holy Grail, Excalibur, and The Fisher King.

ENGL 2311-001+ (2190) [2305]. POETRY. 9 MWF. Hyer 106. Moss.

An introduction to the study of poetry and how it works, examining a wide range of poems by English and American writers, and attending to the form, history, analysis, and interpretation of poetry. Special attention to writing about literature. Evaluation: brief response exercises, 15-20 pages of writing, midterm and final exams, class participation.

Texts: Vendler, Poems, Poets, Poetry (third edition).

ENGL 2311-002+ (2055) [2305]. POETRY. 2 TTh. Dallas Hall 105. Neel.

Introduces students to poetry as an art form. Though not strictly historical in organization, the course emphasizes the long tradition of poetry written in English. Although most aspects of English poetry receive consideration, the course pays particular attention to verse form, poetic technique, thematic implication, and, to a limited degree, prosody. Three short papers (500 words); one medium paper (1,500 words); ten quizzes; one oral recitation; a written final examination; and regular class attendance are required. Texts: Norton Anthology of Poetry, fifth edition; Yale University Press edition of Hamlet; Rita Dove’s Mother Love and Sonata Mulattica (both Norton).

ENGL 2312-001+ (1873) [2306]. FICTION. 10 MWF. Dallas Hall 106. Sae-Saue.

This course is an introduction to fiction with an emphasis on U.S. novels. The primary goal of the class is for students to learn to recognize a range of narrative elements and to see how they function in key U.S. fictions. Writing requirements: short bi-weekly journal assignment (informal); two formal five-page papers.
Texts: Kate Chopin "The Story of an Hour," Toni Morrison: The Bluest Eye, Karen Tei Yamashita: Tropic of Orange Maxine Hong Kingston: The Woman Warrior. Milton Murayama: All I Asking For Is My Body, and Junot Díaz: The Brief Wondrous Life of Oscar Wao.

ENGL 2312-002+ (2120) [2306]. FICTION. 3 MW. Dallas Hall 116. Murfin.

This course will investigate narrative fiction as a genre by looking at three of its sub-genres: the short story, the novel, and the novella. We will begin with nineteenth-century texts, studying some of Nathaniel Hawthorne’s best-known stories; Mary Shelley’s novel Frankenstein; and Joseph Conrad’s Heart of Darkness, a novella that, like Shelley’s novel, features multiple (potentially unreliable) narrators and an achronological plot. In the second half of the course, we will analyze and discuss Henry James’s The Turn of the Screw, Ford Madox Ford’s The Good Soldier, and Ian McEwen’s Saturday, twentieth and twenty-first century novellas and novels that not only further the experiments with narrative form undertaken by Shelley, Conrad, and James but that also develop a theme introduced by Hawthorne: the human monster. In addition to writing several short papers, students will take pop quizzes, a mid-term, and an essay final.

ENGL 2312-003H+ (4752) [2306]. FICTION. 9:30 TTh. Dallas Hall 137. Weisenburger.

Human beings use story-telling to compose and express understandings of ourselves, others, and our world. While giving us pleasure, narrative also structures memory and is thus foundational to critical and historical thinking and knowledge-making in general. This class aims to build analytical, critical, and writing skills through guided studies of and writings about the short story, novella, novel, and narrative film. We ask what individual fictions do, how they do what they do, where and why these doings are unique to narrative art, and how some stories work to conserve storytelling traditions while others work disrupt conventions. Developing such critical sensitivities to the designs of literary narratives will sharpen our sense of how narrative operates in other fields. This is an introductory course using discussion and lecture, close-reading, and short critical essays.

Texts: a fiction anthology, Raymond Chandler’s classic detective novel, The Big Sleep (1939), and a narrative film to be determined.

ENGL 2313-001+ (2389). DRAMA. 11 MWF. Dallas Hall 138. Crusius.

Introduction to the study of drama as both literary and theatrical experience. Students will examine dramatic texts and attend live productions or see film versions of some of the plays. Writing assignments: four short essays, mid-term, final examination.

Texts: Aeschylus, Agamemnon; Sophocles, Antigone; Euripides, The Bacchae; Shakespeare, Othello; Ibsen, Hedda Gabler; Williams, Streetcar Named Desire; Miller, Death of a Salesman; Wilson, Fences; and selected other texts.

ENGL 2314-001H+ (2277) [2308]. DOING THINGS WITH POEMS. 11 MWF. Dallas Hall 101. Bozorth.

Now in 3D: 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, 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.
Texts: Helen Vendler, Poems, Poets, Poetry (3d ed); Andrea Lunsford, EasyWriter (4th ed.).

ENGL 2315-001+ (2191). INTRODUCTION TO LITERARY STUDY. 12 MWF. Dallas Hall 153. Moss.

Introduction to the discipline for beginning English majors, covering methods of literary analysis in selected texts spanning a range of genres and historical periods.

Writing assignments: brief weekly exercises, two short papers, one longer paper, midterm, final examination.

Texts: Murfin and Ray, The Bedford Glossary of Literary and Critical Terms; Shakespeare, The Tempest; Césaire,A Tempest; Blake, Songs of Innocence and of Experience; Eliot, The Waste Land; Baldwin, The Fire Next Time; Joyce, Dubliners; Eugenides, The Virgin Suicides.

ENGL 2315-002+ (2192). INTRODUCTION TO LITERARY STUDY. 2 TTh. Dallas Hall 143. Sudan.

An introduction to the genre of fiction with an emphasis on revision and the novel. Why do certain stories get retold in different contexts? We will look at several narrative “pairs” in their historical contexts in order to determine their ideological value. “Pairs” may include Defoe’s Robinson Crusoe and Zemeckis’s Cast Away, Austen’s Emmaand Heckerling’s Clueless, Conrad’s Heart of Darkness and Coppola’s Apocalypse Now, Bronte’s Jane Eyre and Rhys’s Wide Sargasso Sea (note: not all pairs align a novel with a film). Weekly quizzes, two short essays, and one longer essay.

ENGL 2391-001 (2068). INTRODUCTORY POETRY WRITING. 9:30 TTh. Dallas Hall 120. Otremba.

A workshop in which student poetry, directed exercises in basic elements of craft, and reading sample poems form the content of the course. Open to everyone, regardless of background and experience in poetry. Emphasis on contemporary poetry.

Texts: TBA

ENGL 2392-001 (1863). INTRODUCTORY FICTION WRITING. 11 TTh. Dallas Hall 116. D. Smith.

A beginning workshop in the theory and practice of fiction writing. Assignments include in-class and at-home exercises, writing and revising short stories, as well as written responses to published stories.
Texts: Writing Fiction: A Guide to Narrative Craft (8th Edition) by Janet Burroway, Elizabeth Stuckey-French, and Ned Stuckey-French, The Norton Anthology of Short Fiction, Shorter 7th Edition, Richard Bausch (editor) and R.V. Cassill (editor)

ENGL 2392-002 (2194). INTRODUCTORY FICTION WRITING. 3:30 TTh. Dallas Hall 137. Haynes.

A beginning workshop in theory and technique, and the writing of fiction. Writing assignments: class exercises, writing and rewriting short stories.
Texts: TBA.

ENGL 3310-001 (1637) [3304]. CONTEMPORARY APPROACHES TO LITERATURE. 9 MWF. Dallas Hall 156. Crusius.

An introduction to contemporary methods of interpreting literature and to the theoretical assumptions--about language, culture, gender, politics, sexuality, and psychology--informing these methods. Writing assignments: four short essays, final examination.
Texts: Stephen Lynn, Texts and Contexts; Lex Williford and Michael Martone, eds., The Scribner Anthology of Contemporary Short Fiction; course packet of readings.

ENGL 3310-002 (1638) [3304]. CONTEMPORARY APPROACHES TO LITERATURE. 11 TTh. Hyer 106. Siraganian.

What is literature? How do we read it, and why? How can students make sense of and use literary criticism? This course introduces linguistic, cultural, and theoretical issues informing contemporary literary discourse and applies a variety of contemporary critical approaches to a few literary texts. Writing assignments: bi-weekly short essays, final essay, final examination.

Texts: Tyson, Critical Theory Today, Fitzgerald, The Great Gatsby, Joyce, “The Dead”, Shakespeare, The Tempest, plus additional essays and poems.

ENGL 3320-001+ (2636). TOPICS IN MEDIEVAL LITERATURE. 11 TTh. Dedman Life Sciences Bldg. 110. Dumitrescu.

This course is an introduction to the literature and culture of the Anglo-Saxons. We will read a variety of texts in translation, including Beowulf and other heroic poetry, laments, riddles, sermons, lives of saints and kings, charms for dealing with stolen cattle and elfshot. Although the course focuses on Old English and Anglo-Latin literature in translation, we will also touch on the languages spoken and written by the Anglo-Saxons, their manuscript production, artistic creations, and intellectual life. We will round out the semester with a look at modern writers inspired by the Anglo-Saxons. Assignments: quizzes, tests, short papers, one longer paper, and a final examination.
Texts: Beowulf, Bede’s Ecclesiastical History of the English People, Asser’s Life of Alfred, Anglo-Saxon poems and prose in translation.

ENGL 3340-001+ (2638). TOPICS IN BRITISH LITERATURE IN THE AGE OF REVOLUTIONS. 12:30 TTh. Dallas Hall 115. Holahan.

A study of Jane Austen’s major novels: Sense and Sensibility, Northanger Abbey, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. Emphasis on variations of plot and character, the handling of dialogue, scenic design, and themes of manners and judgment. Three essays and a final exam.

ENGL 3348-001 (4675). HISTORY OF THE BOOK IN AMERICA. 3:30 TTh. Dallas Hall 142. Greenspan.

This course will offer a survey of the history of written communications in the U.S. from the introduction of the first printing press in the English colonies to the present era of digital culture. In doing so, it will introduce students to the sprawling multidiscipline of the history of the book and analyze major questions that attend the specific manifestations of scribal, print, and digital culture in the U.S. Major topics: history of American literature; local, regional, and national formation through print; print and ethnic identity; history of authorship, censorship v. freedom of speech; uses of literacy, and the history of archives, including libraries.

Texts: "Perspectives on American Book History," to be supplemented by various scholarly sources and 3-4 works of literature.

ENGL 3366-001+ (4677). AMERICAN LITERARY HISTORY. 2 TTh. Fondren Science 155. Greenspan.

This course will provide a broad history of American literature and culture between the Civil War and the present. Readings will be drawn from a wide variety of the leading fiction writers, poets, and dramatists of the period.

Text: Norton Anthology of American Literature (volumes C, D, and E, 7th edition)

ENGL 3367-001 (2646). ETHICAL IMPLICATIONS OF CHILDREN’S LITERATURE. 10 MWF. Dallas Hall 115. Satz.

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 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; 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 3376-001+ (4679). LITERATURE OF THE SOUTHWEST. 12 MWF. Dallas Hall 115. Sae-Saue.

Through analyses of some of the most important and influential texts of the region, we will investigate how literatures of the southwest generate competing visions of cultural identity and constitute a transnational sense of spatial location. Students will conclude the course having achieved three important goals: one, they will learn to recognize how local narratives structure perceptions of life in the southwest; two, they will understand the aesthetic and cultural interventions these narratives make within a broad social-historical perspective; and three, they will comprehend these literary forms within a transnational and inter-ethnic framework.
Texts: Américo Paredes: The Hammon and The Beans: “Over the Waves is Out,” “Macaria’s Daughter,” “When it Snowed in Kitabamba,” “Ichiro Kikuchi,” “Sugamo”; Tomás Rivera: And the Earth Did Not Devour Him; Rudolfo Anaya: Bless Me Ultima; Heléna Viramontes: Under the Feet of Jesus; Leslie Marmon Silko: Ceremony; A.A. Carr: Eye Killers; Karen Tei Yamashita: Tropic of Orange; Jimmy Baca: A Place to Stand; Oscar Casares:Brownsville.

ENGL 3381-001 (4691). SEMIOTICS OF CULTURE. 3:30 TTh. Dallas Hall 156. Sudan.

This course seeks to disrupt and complicate our relationship to movie-going. While acknowledging that movies are a form of entertainment, a means of escape, and projections of private and public fantasies, we will also examine how film acts as an important public arena for serious political discussion. Films take many forms, and often the most overtly political films, like the most overtly political literature, address limited groups and are not widely disseminated. This course focuses on the ways in which popular Hollywood film acts as a political and ideological emissary: what kinds of messages do we consume in the theater? What defines the parameters of entertainment and escape? Is the fact that movie-going is an intensely public practice at all relevant to a discussion of politics? In the process of re-learning how we watch movies, we will also learn to disrupt our ways of seeing, to hone our analysis of ideological structures, to parse different political and cultural theories and understand their importance to reading texts, and, finally, to complicate our understanding of “meaning.”

Texts: TBA.

ENGL 3391-001 (4750). INTERMEDIATE POETRY WRITING. 12:30 TTh. Hyer Hall 102. Otremba.

An intermediate workshop in which student poetry, revisions, directed exercises and in depth discussions of craft that build on elements taught in ENGL 2391 form the content of the course. Prerequisite: ENGL 2391.

Texts: TBA

ENGL 3392-001 (1640). INTERMEDIATE FICTION WRITING. 2 TTh. Dallas Hall 115. D. Smith.

An intermediate workshop in the craft and practice of fiction writing. Assignments include in-class and at-home writing exercises, writing and revising short stories, as well as analysis of published works.

Texts: The Art of Fiction, by John Gardner; Writing Fiction: A Guide to Narrative Craft (8th Edition) by Janet Burroway, Elizabeth Stuckey-French, and Ned Stuckey-French.

ENGL 4320-001 (4692). LITERARY VIOLENCE IN THE MIDDLE AGES: SOLDIERS, SAINTS, AND SCHOLARS. 2 TTh. Hyer Hall 110. Dumitrescu.

In this course, we will consider the various ways medieval writers and artists represented violence and suffering. We will meet heroic warriors and martyred virgins, quarrelsome saints and speaking crosses, abusive teachers and mutinous students, vicious vices and methodical hunters. Through an examination of these texts and appropriate secondary literature, we will see how writers from Late Antiquity to the late Middle Ages combined violent narratives with explorations of gender, aesthetics, power, faith, and learning. Assignments: weekly reading responses, oral presentation, short essays, longer final paper.
Texts: Prudentius, Ælfric Bata, Battle of Maldon, Judith, Solomon and Saturn, Gawain and the Green Knight,Dream of the Rood, various saints’ lives, passion lyrics, selections from medieval memoirs, epics, and drama, selected criticism and images.

ENGL 4333-001 (2305). SHAKESPEARE. 9:30 TTh. Dallas Hall 156. Holahan.

Close reading of the major tragedies along with representative later comedies, problem plays, and romances. Reading will be supplemented by the viewing of videotaped performances. Writing assignments: three essays, quizzes, mid-term, final examination.
Text: Greenblatt, ed., The Norton Shakespeare.

ENGL 4340-001 (4693). ROMANTIC WRITERS: THE ENGLISH ROMANTIC LYRIC. 3 MW. Dallas Hall 153. Spiegelman.

From Blake, Wordsworth, and Coleridge at the end of the 18th century, through Byron, Keats, and Shelley several decades later, English poets were re-imagining and re-configuring the forms, subjects, figures, and styles of lyric poetry. This course will examine what happened to poetry in the crucial years from the French Revolution in 1789 through the aftermath of the Battle of Waterloo and the Congress of Vienna (1814-15), to the death of Lord Byron in 1824. Special attention to the six "canonical" poets above, as well as to newly recuperated or "lesser" figures like John Clare, Charlotte Smith, and Felicia Hemans. Short writing assignments; mid-term exam; final.

Text: Duncan Wu, Romanticism (3rd edition).

ENGL 4343-701 (4734). BRITISH LITERATURE IN THE AGE OF REVOLUTIONS. 5:30 M. Dallas Hall 156. Murfin.

A consideration of six works of fiction dating from the nineteenth and early-twentieth centuries. Some of these texts include important secrets known to the narrator and some characters (but not others, sometimes including the protagonist). Others contain information unknown by the narrator and/or reader until revelatory turning points in the plot. Still other works seem to involve additional secrets that are never revealed, except through what J. Hillis Miller calls “traces or marks,” “indirect signs announcing their hidden existence”—secrets perhaps unknown at any conscious level by the authors themselves. Such fictions often involve real or phantasmal doubles (twins) or Doppelgängers (counterparts); their plots often contain instances of what Freud termed the “uncanny” and are typically conveyed through complex, achronological narrative structures. (These include twice-told tales, interpolated stories, and so-called “Chinese box” narratives that at once invite readers to be “in on” the secret and that, at the same time, keep readers at a distance.) Works covered will include Anne Radcliffe’s The Mysteries of Udolpho, Jane Austen’s Northanger Abbey, Thomas Hardy’s The Mayor of Casterbridge, Joseph Conrad’s Lord Jim and The Secret Sharer, Henry James’s The Turn of the Screw, and Ford Madox Ford’s The Good Soldier. In addition to writing a short paper and a longer paper involving secondary sources, students will complete three in-class writing assignments and lead a discussion.

ENGL 4350-001 (4735). MODERN & CONTEMPORARY BRITISH WRITERS: BRITISH MODERNISM. 12 MWF. Dallas Hall 137. Bozorth.

“On or about December, 1910 human character changed,” declared Virginia Woolf. We will read some of the most revolutionary literature ever written in English, when poetry, fiction, and drama all began to take on strange, new forms in response to the radical changes of the early 20th century. We will see how British writers responded to the rise of modern psychology and anthropology, new developments in music and visual arts, and rapidly evolving views of gender, sex, and class. We will consider how the cataclysms of “The Great War” of 1914-18 and the economic crisis of the 1930s accelerated changes in poetry and fiction. We will talk about how literature responded to rising independence movements in Ireland and India, and the prospect of a post-imperial, even post-Christian Britain. And we will grapple with some of the most weird, wonderful, and powerful literature written in English. Some lecture; more discussion. Short response papers, longer research-based paper. Regular participation in online discussion board.
Texts: Selected poetry by W. B. Yeats, T. S. Eliot, W. H. Auden, Wilfred Owen; Virginia Woolf, To the Lighthouse; E. M. Forster, A Passage to India; James Joyce, A Portrait of the Artist as a Young Man; Oscar Wilde, Salome; Samuel Beckett, Endgame.

ENGL 4360-001 (2306). STUDIES IN MODERN AMERICAN LITERATURE. 12:30 TTh. Dallas Hall 105. Dickson-Carr.

This course focuses upon the most storied and productive movements in African American literary history: the “New Negro” or Harlem Renaissance; the social realist/naturalist period of the Great Depression and World War II eras; the Black Arts/Black Aesthetic movement of the 1960s and 1970s; contemporary (viz.: post-1980) literature. Through representative selections of novels, short stories, poetry, and drama, we still study the elements that defined each movement, from historical contexts to specific genres and concepts: folk culture; satire; négritude; allegory; neo-slave narrative; and more. We will read works by Hughes, Hurston, Schuyler, Thurman, Wright, Ellison, Petry, Himes, Brooks, Baraka, Giovanni, Reed, Walker, Morrison, Wilson, Beatty, and Everett. Requirements will include: quizzes; two short papers; a longer research project; a midterm; a final exam.

ENGL 4391-001 (4763). ADVANCED POETRY WRITING. 12:30 TTh. Hyer Hall 102. Otremba.

An advanced workshop in which student poetry, revisions, directed exercises and in depth discussions of aesthetics and craft that build on elements taught in ENGL 2391 and ENGL 3391 form the content of the course. Prerequisite: ENGL 3391.

Texts: TBA

ENGL 4392-001 (1642). ADVANCED FICTION WRITING. 12:30 TTh. Dallas Hall 120. Haynes.

Advanced workshop for students seriously interested in writing the short story or novel. Each student is required to have a new story or chapter ready to workshop at the beginning of the semester. Writing assignments: At least four works of original fiction created during the semester. Prerequisites: ENGL 3392 and permission of the instructor.
Texts: TBA.

ENGL 4398-001 (4747). CRAFT OF FICTION. 3 MW. Dallas Hall 106. C.W. Smith.

A course designed for all students interested in contemporary literature, whether they be writers, budding scholars, or hobbyists. We shall explore how contemporary fiction writers deliberately go against the grain of older, traditional conventions of realistic story-telling by flouting conventional expectations in readers for chronological or linear narration, formulaic plot devices, and the singular point of view. The course will not fulfill English major and minor requirements for 4000-level literature courses, but will fulfill specialization hours for Creative Writing and elective hours for all others. Writing assignments: several creative exercises, two short stories, 15 one-page response papers, two brief analytical essays. Prerequisite: ENGL 2392.

Texts: The Contemporary American Short Story, ed by Shreve and Nguyen; Martin Amis, Time’s Arrow; Toni Morrison, Jazz; short stories by Angela Carter, A.S. Byatt, John Barth, Donald Barthelme, Jorge Luis Borges, Italo Calvino, and others.