Fall 2017: Majors Course Descriptions
English 130: Introduction to Literary Studies for English Majors and Minors
Dr. Matthew Cella | MWF 9:00 - 9:50 AND MWF 10:00 - 10:50
This course will introduce you to the various methods for analyzing and interpreting literature in order to improve your proficiency as a literary scholar and English Major or Minor. Our readings will cover the three main literary genres (fiction, poetry, and drama) and will be drawn from a wide range of time periods and cultural backgrounds. Through critical thinking, writing, and active discussion, we will dissect these works of literary art using the tools and approaches most commonly employed within the field of literary studies. With a broad background in the practices and principles that characterize literary study, students will learn to read literature both more closely and more deeply. Requirements included regular reading quizzes, unit exams on each of the three genres, and three short analytical papers (also addressing each of the three genres).
ENG 224 - Introduction to Creative Writing
Dr. Nicole Santalucia | TR 11:00 am - 12:15 pm and TR 12:30 - 1:45 pm
Introduction to Creative Writing introduces elements of creative writing in a variety of genres, providing practice analyzing short stories, creative nonfiction pieces, poems and/or dramatic scenes from the point of view of a creative writer. In a series of creative assignments, students will learn to use the tools of creative writing—such as scene, dialog, imagery and description—to explore and improve their own creative writing. Students will write a series of short summary/analysis responses to reading assignments. Students will complete a series of short explorations of creative writing, with a culminating assignment of an expanded and revised creative work in a process portfolio. This course satisfies the requirement for a course in Writing.
English 234: American Literature II
Dr. Michael Bibby | TR 2:00 - 3:15
English 236: British Literature I
TBA | MW 5:00-6:15
English 238: Technical/Professional Writing I
Dr. Carla Kungl | W 6:30 - 9:15
The primary goal for this course to give you the skills you need to solve rhetorical problems in your professional career. Technical Writing is not an in-depth study of one particular field, but rather an increased awareness of audience and concise response to a particular problem. In this class, you will be asked to think critically, examine many possible solutions, and then choose the best response to the given situation. For each assignment, I will provide the particulars, and we will work together to develop an effective rhetorical solution. However, as the semester progresses, you will be asked to solve these problem more independently. By the end of the semester, you will feel more comfortable solving these workplace dilemmas on your own. I want you to be ready to work on your own, since most on the job projects will ask you to solve these problems without the support of the classroom or a professor. We will be using Mike Marcel's textbook, Technical Communication, 11th ed.
By the end of this course, you will be able to:
* create documents that adhere to the eight measures of technical writing excellence
* incorporate graphic design elements effectively into your documents
* collaborate effectively within a small group to identify and solve rhetorical problems
* create a professional career portfolio, including a concise resume and cover letter
* identify and address ethical dilemmas on the job, and respond thoughtfully
* create and deliver a professional oral presentation based on your research
English 240: Global Literature
Introduction to Modern World Dramatic Literature—Realism and After
Dr. Tom Crochunis | TR 2:00-3:15
In this course, we will read plays first performed in the nineteenth and twentieth centuries, focusing on realism’s emergence as a strategy in Western drama, on varied ways of adapting realistic dramaturgy in relationship to other cultural traditions, and on the intellectual and cultural sources that lead dramatists to extend beyond realism. Students in the class need not begin the course with an extensive background in reading drama. Plays read for the course will include works by European, Asian, African, and North and South American writers that either define or serve to extend the strategies of theatrical realism. We will engage with the course’s plays through careful reading, viewing, discussion, writing, and in some cases performing or theatrically envisioning scenes. Major course assignments will include two short (4-6 page) papers engaging with individual plays and their critical reception, regular short in-class writing assignments, and one longer comparative study and presentation that connects a play read for the course to other plays that preceded or followed it.
EDU 290: Introduction to English Language Arts Education
Dr. Tom Crochunis | MW 2:00 - 3:15
As the first of three English pedagogy courses, Introduction to English Language Arts Education invites students interested in teaching English to begin their intellectual and professional journey. Through the course’s readings, discussions, activities, and assignments, you will learn terminology and concepts associated with English teaching in secondary schools and gain hands-on experience with devising assignments, developing lesson plans, and leading activities in class. The course will involve field experiences in secondary school English classrooms that will provide real-world examples of the ideas discussed in class. Additionally, the course will ask you to read professional literature and reflect on your assumptions about teaching English and on the kinds of dispositions that a teacher needs to develop to serve students well. This course is a prerequisite for ENG-426: Teaching Adolescent Literature and EDU-422: Teaching English in the Secondary Schools.
Because this course serves as an introduction to English teaching, students in the writing or literature degree programs who are interested in learning more about teaching are welcome. Taking this course might be a way to find out whether further courses in teaching English would be of interest. The course can count as an elective for students in those programs.
English 307: Poetry Writing
Dr. Nicole Santalucia | MW 2:00-3:15
English 308: Fiction Writing
Dr. Kim van Alkemade | MW 5:00 - 6:15
During the first half of the semester, students will be introduced to key concepts of narrative through lectures, readings, and sometimes unusual exercises. All of this will lead toward the creation of an original literary short story. The second half of the semester is dedicated to workshopping these pieces, with each student having a day dedicated to his/her fiction. No prerequisite save the desire to write compelling stories.
English 323: Reviewing the Arts for Publication
Dr. Laurie Cella | TR 12:30 - 1:45
English 333: Cultural Studies
Dr. Michael Bibby | MW 3:30 - 4:45
Atrocity Exhibitions: Cultural Studies and Goth Subcultures
their black clothes, black-dyed hair, and deathly faces, "goths"
haunt the fringes of contemporary society, immediately recognizable yet widely
misunderstood and often maligned. Although the term"Gothic" has been
used since the early 19th century to refer to literary works that emphasized
the macabre, transgressive, and uncanny, Goth
as a subculture emerged from the ashes of punk in the late 1970s taking on the
look and affect of such bands as Joy Division, the Cure, Siouxsie and the
Banshees, and Bauhaus. Often organized around fascinations with the
melancholic, the funereal, and the arcane, goth has become one of the most
enduring subcultures in contemporary history, influencing a variety of cultural
productions, including the fashions of Vivienne Westwood, the artwork of Damien
Hirst, and the films of Tim Burton. More recently, goth has inflected various music
styles, such as witch-haus, darkwave, black metal, trap goth, cholo-goth, and
alt-country. Goth is an unusually long-lived and vibrant music-oriented
subculture crossing racial, ethnic, class, and global borders. While goth
originated in the UK and the US, today goth scenes can be found throughout Europe,
the Caribbean, South America, Africa, and Asia.
course seeks both to introduce students to the concepts and critical methods of
"cultural studies" and to put its theories into practice by examining
goth subculture, its various forms, and its relations to mainstream
culture. Our studies will be cross-disciplinary, and will include
analyses of music, online media, fashion, and social practices. Throughout our
discussions and research, we will attempt to understand how the discourses,
signifying practices, and cultural productions of goth express subcultural
identities. Possible texts include Lauren Goodlad
& Michael Bibby, eds., Goth: Undead
Subculture; Paul Hodkinson, Goth:
Identity, Style and Subculture; Brian Longhurst,
et al., Introducing Cultural Studies,
For students in the NEW English curriculum, this course will count for the GENRE requirement. For student under the OLD curriculum, it will count for the POST-1800 requirement.
English 335: Creative Nonfiction
Dr.Kim van Alkemade | TR 6:30 - 7:45
English 344: Studies in a Single Author
Dr. Cathy Dibello | TR 11:00 - 12:15
Although Jane Austen wrote her novels over two centuries ago, they remain remarkably popular, as the many films and television adaptations, "sequels," and new editions of the novels themselves indicate. What explains Austen's enduring appeal? To answer this question, we will read five of Austen's novels and two collections of critical articles. In addition, we will watch clips from various adaptations of Austen's books. As we analyze differences between the novels and recent film versions, we will speculate about what these changes indicate about our own culture. This course fulfills the History and Movements category for English majors and counts as an elective for Women's and Gender Studies minors.
Texts: Austen's Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. Troost and Greenfield's Jane Austen in Hollywood. Macdonald and Macdonald's Jane Austen on Screen.
Activities: Analytical paper, oral report on an article, video presentation, final essay exam, and daily work.
English 363: Modernism
Dr. Erica Galioto | TR 9:30-10:45
ENG 363: Modernism, the Mother, and Sexuation
In ENG-363: Modernism, the Mother, and Sexuation, we will take Virginia Woolf’s famous assertions as our starting point: “On or about December 1910, human character changed . . . All human relations have shifted—those between masters and servants, husbands, and wives, parents and children. And when human relations change there is at the same time a change in religion, conduct, politics, and literature . . . [and so we must learn to] Tolerate the spasmodic, the obscure, the fragmentary, the failure.” Our course will then explore these Modernist slogans. What changes in 1910? How does the literature of this time reflect these changes in human relations? Why does Modernism demand acceptance of brokenness? We will put American and British novels into dialogue with psychoanalytic theory, which is particularly appropriate since psychoanalysis flourishes during the Modernist Period and analyzes the “turn inward” commensurate with the form and content most representative of the movement. We will open with the melancholic phase of Modernism and consider problematic maternal relations; from there we will move to its alignment with sexuation, psychoanalysis’ concept of unconscious identity and desire; and finally we will conclude with the linguistic experimentation of discourse that cures symptoms. Taken together, these three sections will show how Modernism presents the birth of the psychoanalytic subject in its movement from melancholia to desire to discourse. We will conclude with a new appreciation for Woolf’s descriptions in understanding that the changed character of Modernism coincides with the pinnacle of psychic functioning: shattered cultural, relational, and linguistic illusions provide pleasure in the temporary wholeness found, not despite, but because of the fragmentation. Requirements include one long paper, several short papers, a presentation, and active discussion. Book List: Virginia Woolf, To the Lighthouse; James Joyce, Ulysses; D.H. Lawrence, Lady Chatterly’s Lover; Graham Greene, The End of the Affair; Edith Wharton, Stories; Henry James, Stories; E.M. Forster, A Room with a View; Jacques Lacan, Seminar XX: Encore; Jacques Lacan, Seminar XXIII: The Sinthome; Alison Bechdel, Are You My Mother?; Maggie Nelson, The Argonauts.
English 368: Studies in Fiction
Dr. William Harris | TR 5:00- 6:15
Provides focused, in-depth study of fiction’s fundamental components, such as plot, character, and narrative point of view. Featured topics could include the rise of the novel, the Bildungsroman, or magic realism. Expanding on the basic fundamentals of fiction analysis taught in ENG 130, this course further develops students’ analytical skills and extends their awareness of critical approaches to fiction. Students should expect to write at least one analytical paper. Prerequisite: ENG 130.
THIS SEMESTER'S FOCUS: FILM NOIR—FROM PAGE TO SCREEN
Sin. Lust. Greed. Redemption. Moral ambiguity. Innocence vs. corruption, freedom vs. fate, &—sometimes—the sheer pleasure of being bad. These are just some of key ideas in film noir, one of the most popular genres in the history of cinema. The hard-boiled crime & suspense novels that many noir films were based on are now regarded as American literary classics. And yet film noir—a category of film associated with a wave of films that emerged in the early 1940s—is defined by more than just such themes & sources. It’s also characterized by a particular visual style and narrative structure that reflect the social, political and cinematic context of the period. This semester we will study a variety of noir films & the classic novels on which most of them were based in order to consider noir’s literary roots, its cinematic antecedents, its status as a genre, its rebirth as neo-noir (from the 1970s to the present), & its enduring appeal. Questions about genre, visual style, narrative form, sexuality, gender, & American national identity will inform readings and discussions.
Films & novels may include The Maltese Falcon, Double Indemnity, The Big Sleep, Out of the Past, Kiss Me Deadly, The Grifters, They Shoot Horses, Don’t They?, The Long Goodbye, & Chinatown. Additional readings will help us understand the history of film noir production & analysis. Prepare for stylish banter, witty dialogue, stunning visuals, & memorable stories & characters!
Assignments may include shorter analysis papers, weekly discussion activities, & a research/argument paper.
For students in the NEW English curriculum, this semester the course will count for the GENRE requirement. For student under the OLD curriculum, it will count for the POST-1800 requirement.
English 375: African-American Literature
Dr. Raymond Janifer I MW 3:30 - 4:45
English 377: The Long 18th Century
Dr. Sharon Harrow | MW 2:00 - 3:15
"Crime and Impropriety in 18th-century British Literature"
Pugilists, pirates, prostitutes, rogues, highwaymen, murderers, adulterers, seducers, cross-dressers, political criminals, war criminals, slavers, cutpurses, writers. Such figures populated the pages of 18th-century British literature. Called an age of reason and an age of enlightenment, the eighteenth century was a time of great social upheaval. Writers were fearful of and fascinated by crime and social transgression. We will read major works of literature against political and social movements, exploring how eighteenth-century British writers represented morality, corruption, crime, sex, commercialism, patriarchy, and politics. In addition to great commercial, religious, and social changes, the eighteenth-century bore witness to a veritable explosion of literary genres. We will read across genres, including periodical essays, plays, poems, novels, criminal biographies, and political satire, questioning the way genres overlapped and developed. Writers were very self-consciously concerned with what makes good literature and with what value literature has. This course aims to understand how writers envisioned such literary and social value. This course will help you understand literary history and hone your literary critical skills. Potential authors include: Margaret Cavendish, Aphra Behn, Daniel Defoe, Alexander Pope, Henry Fielding, William Hogarth, Olaudah Equiano.
EDU 422: Teaching English in the Secondary Schools (Methods)
Dr. Erica Galioto | TR 8:00 - 9:15
This “Methods” course is a practicum in English/Language Arts instruction for secondary certification English majors in the semester before student teaching. Our primary concern will be the joining of theory about teaching and learning with the practical methods of implementing such theory in a secondary classroom. In our weekly readings and discussions, we will explore the theoretical foundations of different learning styles, composing practices, teaching models, ranges of critical thought, and education philosophies, to name a few. Extending beyond abstract analysis, we will then move these theories into their practical applications, as we use them to inform and challenge our own classroom practices. Each class will include a practical workshop component; we will often focus on planning lessons, sequencing assignments, constructing assessments, and differentiating the classroom. Drawing on our varied experiences as both teachers and students, we will develop teaching strategies, activities, and assignments that will address the diverse learners in our secondary classrooms. The students in this practicum will begin to form personal pedagogies that are situated in the larger field of English education, but are also very much rooted in their own classroom practices. Expect to leave this course equipped with a practical portfolio, philosophy of teaching statement, and an understanding of how to put theory into practice. EDU-290: Introduction to English/Language Arts Education and ENG-426: Teaching Adolescent Literature are pre-requisites for this course.
English 460: Senior Seminar
Dr. Shari Horner | TR 12:30 - 1:45