ENG/LIN 211-010  Introduction to Linguistics I

MTWR 10:00-12:30

Zoubir-Shaw, S.

The first semester of a sequence of introductory courses on the scientific study of human language. We will explore the units of meaning and patterned structures of three of the four aspects of human grammar: morphology, phonology and syntax. We will then examine how the morphological, phonological and syntactic systems of all human languages are similar, and how they can change over the course of time. 

ENG/LIN 211-410  Introduction to Linguistics I

MTWR 6:00-8:30

Harden, K.

The first semester of a sequence of introductory courses on the scientific study of human language. We will explore the units of meaning and patterned structures of three of the four aspects of human grammar: morphology, phonology and syntax. We will then examine how the morphological, phonological and syntactic systems of all human languages are similar, and how they can change over the course of time. 

ENG/LIN 212-010  Introduction to Linguistics II

MTWR 12:30-3:00

Bosch, A.

This is the second semester of a two-semester sequence introducing the study of Linguistics.  (However, for this summer session only, LIN 211 is not a prerequisite for this course.)  Linguistics is the scientific study of human language as a system.  Everyone knows a language--but what does it mean to know a language?  How are languages different from one another?  How are they similar?  This course will introduce students to the social aspects of the study of linguistics, focusing on the issues and problems of interest within each of these fields; topics include semantics, first and second language acquisition, sociolinguistics, brain and language, psycholinguistics, and animal communication.  There will be brief problem sets, 10 short quizzes, a midterm and a final. English majors, Linguistics majors, MCL majors, and students in the Colleges of Communication, Health Sciences, and Education are all welcome in this introductory course. 

ENG 230-010  Introduction to Literature

MTWR 10:00-12:30

Prats, J.  

In this introduction to the study, appreciation, and criticism of literature, we will read (and reread) literary works that explore the theme of revenge. We will discuss and write about portrayals of revenge in written texts (short stories, poems, plays, and movies) and in several filmed adaptations of assigned readings. Inquiring into the theme of revenge, we will examine contexts, genres, conventions, literary devices, and literary terms to discover productive ways of reading and getting to know a literary work. The course should help students become more informed and engaged readers who can write credibly about literature. It should also help students develop and polish their writing skills.

Note: ENG 230 satisfies the Graduate Writing Requirement (GWR) for those students who have completed 30 hours of course work, including ENG 104 or its equivalent.

Requirements: regular attendance and class participation; three literary analysis essays (including two four-page essays and one seven-page essay, with each assignment requiring drafts and peer reviews); frequent in-class writing, close-reading exercises, and quizzes.

The class, which meets in a computer lab classroom, requires students to compose their work in Microsoft Word, to consult the course site on Blackboard for all course information (assignments, announcements, documents, external links, etc.), and to turn in not only printed documents but also electronic submissions to the Blackboard Digital Dropbox.

ENG 230-011  Introduction to Literature

MTWR 1:00-3:30

Prats, A.

ENG 234-010  Introduction to Women’s Literature

MTWR 1:00-3:30

ENG 482G-010  Studies in American Literature: Sex & Money in the Roaring ‘20s

MTWR 10:00-12:30

Clymer, J.

This 4-week course will provide an entertaining and enlightening introduction to a few of the great short novels of the 1920s.  Overall, our main interest will be in tracing the interactions of money and sexuality during the “Roaring 20s.”  Along the way, we will meet new social types who emerged in this gin-soaked decade:  the flapper, the gangster, the movie star/sex symbol, and the “race tourist,” just to name a few.   Summer school’s lengthier class periods will also enable us to view a 1920s movie starring Rudolph Valentino, as well as other short film clips from the period showing the innovative new art forms of the Harlem Renaissance and other defining images of the 1920s, such as dance crazes and Prohibition-era alcohol raids.

We will read four short novels, including F. Scott Fitzgerald, The Great Gatsby; Ernest Hemingway, The Sun Also Rises; Nella Larsen, Passing; and Anita Loos, Gentlemen Prefer Blondes. 

Formal assignments will include a take-home final exam, quizzes, and short written responses to the novels. 

Questions about the course can be addressed to Professor Clymer at jeff.clymer@uky.edu.  

LIN 517-010  Special Topics in Linguistics: Second Language Acquisition

MTWR 10:00-12:30

Dubravac, S.

This course will offer students a survey of the primary concepts and phenomena that relate to the study of Second Language Acquisition (SLA) where second has reference, traditionally, to languages learned after the onset of puberty. This course will provide a cursory look at a number of fundamental issues that reside at the heart of this interdisciplinary and multi-faceted field of inquiry. These issues include, but are not limited to, the following: the relationship between first (L1) and second (L2) language acquisition as well as the influence of L1 on L2 development, the existence and relevance of Universal Grammar in regard to the study of SLA, the differences between instructed and naturalistic SLA, the notion of interlanguage and its development and variation, the validity of cognitive/mentalistic and/or socio-cultural approaches to SLA, and, finally, the need for input, interaction, and output. Although the course does not focus on pedagogy, some reference will be made to the practical application of SLA theories and how they may influence L2 teaching, particularly during the discussion of instructed SLA. In spite of its extremely complex and dynamic nature, the study of SLA attempts to explain a fascinating phenomenon that takes place every day across the planet and serves to connect humans of all races, ethnicities, social classes, and nationalities in our global society.  

ENG/LIN 210-020  History of the English Language

MTR 11:30-1:10

O’Hara, M.

This is an introductory course in the History of the English Language in which we will study the ways in which English has developed from its origins to modern times.  The purpose of the course is to answer the following questions: Where does Modern English come from? How has English changed over the last 1500 years? What do those changes show us about the process of language change in general? What influence have class, race, gender, and politics had on the development of English? What are some of the more common myths about language and why are they wrong? What is the future of English as a world language?

The course will be structured around readings from The Story of English, supplemented by the SOE videos, by additional readings from the Encyclopedia, and Language Myths, as well as by handouts. Students will be expected to do the assigned readings before class and to participate in instructor-led discussions of the material.

There will be four exams based on the assigned readings and selected videos; also daily quizlets on the homework readings. No cumulative mid-term or final. 

            The texts will be David Crystal’s The Cambridge Encyclopedia of the English Language, 2d edition (Cambridge University Press, 2003); Laurie Bauer and Peter Trudgill’s Language Myths (Penguin, 1998), and Robert McCrum’s The Story of English, 3d edition (Penguin Books, 2002). 

ENG 230-020  Introduction to Literature: Banned Books: From Huckleberry to Holden to Harry

MTWR 8:50-11:20 (meets June 11 to July 8)

Carter, M.

Why are school districts and some parents afraid of Harry Potter, Huckleberry Finn or others? Why are certain works and their characters’ words either avoided or expurgated to gain admittance into the corridors of high schools? This course will read these works and examine the historical and cultural reasons for the books’ being challenged in the past or today. Poems such as Whitman’s “Leaves of Grass” and Ginsberg’s “Howl” have rallied opponents to suppress their inclusion in anthologies. We’ll try to redeem or reject these texts through close readings and research into the complaints about the books and into the themes of the texts. Coursework will include readings and two 8-10 pages essays as well as shorter writing assignments.  

ENG 230-021  Introduction to Literature: Banned Books: From Huckleberry to Holden to Harry

MTWRF 9:10-11:10 (meets July 9 to Aug 6)

Carter, M.

Why are school districts and some parents afraid of Harry Potter, Huckleberry Finn or others? Why are certain works and their characters’ words either avoided or expurgated to gain admittance into the corridors of high schools? This course will read these works and examine the historical and cultural reasons for the books’ being challenged in the past or today. Poems such as Whitman’s “Leaves of Grass” and Ginsberg’s “Howl” have rallied opponents to suppress their inclusion in anthologies. We’ll try to redeem or reject these texts through close readings and research into the complaints about the books and into the themes of the texts. Coursework will include readings and two 8-10 pages essays as well as shorter writing assignments.  

ENG 234-420  Introduction to Women’s Literature

MTW 6:00-8:15 (meets June 15 to July 22)

Tarrant-Hoskins, N.

Same as GWS 300-420 

What exactly do cowgirls have to do with considerations of gender, class, and cultural depictions of power?  Traditionally, the western has been a man’s world, with   such cultural icons as John Wayne and Gary Cooper as the mainstay of this genre.  In recent years, however, some of the most popular characterizations of the western not only replace Wayne and Cooper with far more complex depictions of masculinity, but, increasingly, with richly powerful female cowgirls at the center of action.  These contemporary entertainments make for fascinating examinations and reconsiderations of how women fared in the west.  Recent versions of such highly popular shows such as Deadwood and Serenity will be accompanied by critical essays on how these shows consider class and power, but primarily – gender.

*This class will fulfill the Graduate Writing Requirement(W) 

ENG 281-020  Introduction to Film

MTWR 11:30-2:00 (meets June 11 to July 8)

Marksbury, T. 

Our experience of film is so immediate and so simultaneous that this course attempts to break down the elements of confronting a movie into smaller, more manageable units--cinematography, editing, etc.  At the same time, the overarching point of view will be our reception of narrative patterns and genre conventions.  Towards that end, we will look at classical and more contemporary examples of the horror film, the screwball comedy, the western, the noir, etc.

     We will also examine at least one silent film and a handful of so-called “art films” from other countries.  With any luck, close readings of these movies will yield both particular riches and more general conclusions about the nature of film.  When we first start really thinking about film, we depend too much on how we are taught to think about literature.  Although a focus on such matters as character, dialogue, conflict, and them is important, even essential, the jump we aim to make here is analyzing film as film, looking into the uniquely cinematic properties of these visual texts before us.

     We will be using The Film Experience, by Corrigan and White, 2nd edition, and A Short Guide to Writing About Films, by Corrigan, as required reading.  Films will range from Spike Lee’s X to James Whale’s Bride of Frankenstein, from Orson Welles’ Touch of Evil  to Jean Luc Godard’s Pierrot le Fou.  Note:  most film viewings will be scheduled outside of class.  Expect plentiful discussion, a very short (5-7 pages) and somewhat longer (10-12 pages) essay, a mid-term, and a final exam which is not comprehensive. 

LIN 317-020  Language & Society: English Around the World

MTR 1:30-3:10

El-Guindy, B.

Discussions in this course will focus on structural properties of varieties of English around the world; descriptive surveys (covering both phonology and grammar) of the main national standard Englishes, as well as a selection of the distinctive regional, ethnic and social varieties and also major contact and ESL varieties; historical and cultural background and current sociolinguistic situation of the respective regions; global tendencies in phonological and grammatical variation (i.e. what are the least/most frequent features); notion of Standard English; attitudes to local varieties of English and the problem of standards.

On completion of this course, students should know the main distinguishing features, at the key linguistic levels, of the more important varieties of English around the world (native-speaker and 'new'; standard and non-standard) and also the origins and development of these features, and be able to explain the relevant facts using the terminology of linguistics; understand the main facts and issues associated with the statuses and functions of these varieties in the various societies in which they are used, the attitudes which users of English have adopted with respect to these varieties, and the connections between all these issues; be in a position to analyze new situations involving language varieties (English or other) in these terms; be in a position to develop critical and well-informed positions on the practical upshots of these considerations (educational, language planning, etc.).  

ENG 330-020  Text & Context: Jane Austen Movie Club

MTR 2:00-4:15

Oaks, J.

Same as GWS 300-020

This course will examine the ways some modern films interpret the novels of Jane Austen.  We will utilize the vocabulary of Geoffrey Wagner (from The Novel and Cinema) which suggests that adaptations fall into one of three categories: transposition, commentary and analogy.  “A ‘transposition’ follows the novel closely; a ‘commentary’ alters the novel slightly, with a new emphasis or new structure; an ‘analogy’ uses the novel as a point of departure (quoted in Sue Parrill, Jane Austen on Film and Television, p. 9).  The study texts (Emma, Pride and Prejudice, and Mansfield Park) will be explored in both novel and multiple film versions.  To begin, the class will watch Ang Lee’s Sense and Sensibility (screenplay by Emma Thompson).  This film will serve as a model for discovering some of the cinematic techniques used to visualize “classic” novels.   Adaptations of other Jane Austen works will be utilized as well.  For example, the Emma films--Clueless (Amy Heckerling, 1995) and Emma (Diarmuid Lawrence, 1996); several versions of Pride and Prejudice including the “screwball comedy” of 1940 by Robert Z. Leonard, the 1996 A & E transposition by Simon Langton (selections), the bollywood Bride and Prejudice (Gurinder Chadha, 2004), and the Gothic adaptation by Joe Wright (2005); and Patricia Rozema’s “feminist” Mansfield Park (1999).  English 330/GWS 300 will emphasize issues of narrative theory, women’s poetics, gender, race, class, and sexuality.

Students will be assessed by means of one short and one long paper, a presentation, peer review, and much class discussion.   

ENG 335-020  Survey of American Literature II

MRWR 11:30-2:00 (meets July 9 to Aug 6)

Marksbury, T.

We’ll probably start after Whitman and the Reconstruction, maybe touching on Emily Dickinson, by focusing on a rapidly growing sense of narrative possibilities and the new dimensions American prose begins to tap into, from the high style of Henry James to the poetic realism of Stephen Crane and Kate Chopin to the deceptively minimal Sherwood Anderson and Ernest Hemingway.

       Jean Toomer, Nella Larson’s Passing and William Faulkner’s As I Lay Dying will usher us into the modernist period and, after a lot of short stories, plays by Tennessee Williams and Eugene O’Neil, and maybe even a movie or two, such writers as Toni Morrison, Donald Barthelme, Art Spiegelman, Ishmael Reed, Hunter S. Thompson and Ursula K. LeGuin will try to get us out of it.  Our reading concludes with Don DeLillo’s White Noise.  The emphasis is on fiction, but we’ll try to make a little room for film noir, bebop jazz, graphic novels, and other forms which need to be considered in the context of the existing canonical literature.

     We will be working out of The Norton Anthology of American Literature, volumes C, D, and E, edited by Nina Baum, 7th edition.  Expect lots of class discussion and three exams, each of which has an in-class and a take-home essay component.

ENG 401-220  Special Topics in Writing: SEWP

Off Campus

Reece, E.

ENG 481G-020  Studies in British Literature: Shakespeare & Performance

MTWRF 9:10-11:20 (meets June 11 to July 9)

Foreman, W.

Shakespeare's plays were designed to be spoken aloud and understood aloud, but John Heminges and Henry Condell, two of his longtime partners in the theater business, also thought they were valuable texts for private reading so they published a collected edition several years after their friend's death.  This course is founded on the notion that these forms of encounter with the plays—private reading (whether silent or aloud) and communal reading aloud—are mutually illuminating and provide a way into a capacious understanding and appreciation of the interacting emotions and arguments of the characters, their ideas and doubts, their desires and needs, their griefs and joys.  To read a Shakespearean role as if you knew what it meant is a great start toward finding out what in fact it does mean, as is hearing other people read other characters as if they too knew what they meant by what they said.  We will also look at how different oral performances find different meanings in the same works.  We will use two plays, chosen (by the instructor, who, as he writes this in early March, is indecisive) from (probably) the following: A Midsummer Night's Dream, Julius Caesar, Twelfth Night, King Lear.  We will read lots of Shakespeare's words in class, tinkering with rhythm, stress, and silence, and we will look at video and listen to audio versions of our plays to get a sense of how other people think they should sound.  There will be short written exercises due for most class meetings, as well as in-class work, which will include reading aloud every day, but no long papers or "major" exams.  (Grades will measure the diligence and intelligence and sensitivity of students' work, but not their ability as "actors.")

ENG 207-001  Beginning Workshop in Imaginative Writing: Fiction

M 3:00-5:30

Cardiff, C.

DEAR AUTHOR: THIS COURSE INTRODUCES YOU to the forms and practices of creative writing. Focusing on each individual, our workshop will develop the skill in writing stories and/or personal narratives. To help foster your work, weekly exercises will help you develop an understanding of the elements of the craft such as character development, narrative structure, dialogic engagement, and scene development. You also will be expected to read peer work with care and to discuss this writing with constructive, informed, and articulate criticism to specific elements of the text that go beyond simple like and dislike. The study of works by writers such as Annie Proulx, Jhumpa Lahiri, and Wallace Stegner in the context of craft—as opposed to literary interpretation or historical analysis—is a critical part of your artistic discipline and creative output. The main feature of the course is (of course) THE WORKSHOP itself, and you will have the opportunity to provide stories for peer evaluation three times over the course of the semester. Vital to writing is re-writing, of returning to your work and sculpting it into the shape you wish it to take. For your efforts, you will have the opportunity to further develop one workshopped piece for a second round of peer and instructor critique. As you practice becoming an effective and careful reader of both peer and established writing, you do become an effective and careful reader of your own. Writing, reading, and evaluating peer work all further your own creative practice. By the end of the term, you will feature your two workshopped stories and your choice of three shorter “best effort” writing exercises in a portfolio that you can be proud of, and one day, pass on to future progeny and fans.

ENG 207-002  Beginning Workshop in Imaginative Writing: Fiction

R 3:30-6:00

Howell, D.

First you'll develop a working vocabulary for discussing fiction-writing -- using and understanding terms such as conflict, complication, crisis, point of view, round and flat characters, setting etc.  Then you'll read and discuss a number of well-known short stories, which will serve generally as models for the four short concept-driven exercises you'll write; at least one will be workshopped and all will be annotated by your peers and me.  You will then write two short stories, both of which will be workshopped, annotated by all, and graded.   One of the two short stories will be revised at the end of the semester, and graded. 

ENG 207-003  Beginning Workshop in Imaginative Writing: Poetry

W 3:00-5:30

Howell, D.

Typically, our class time will be devoted to brief discussions of assigned poems, to exercises designed to generate poems, and to workshop sessions in which we will discuss and critique your poems.  You will write and submit twelve poems during the semester, seven of which will become part of a portfolio submitted at the end of the semester, upon which 80% of your grade will depend. 

ENG/LIN 210-001  History of the English Language

MW 4:00-5:15

O’Hara

This is an introductory course in the History of the English Language in which we will study the ways in which English has developed from its origins to modern times.  The purpose of the course is to answer the following questions: Where does Modern English come from? How has English changed over the last 1500 years? What do those changes show us about the process of language change in general? What influence have class, race, gender, and politics had on the development of English? What are some of the more common myths about language and why are they wrong? What is the future of English as a world language?  The course will be structured around readings from The Story of English, supplemented by the SOE videos, by additional readings from the Encyclopedia, and Language Myths, as well as by handouts.

        Students will be expected to do the assigned readings before class and to participate in instructor-led discussions of the material.  There will be four exams based on the assigned readings and selected videos; also daily quizlets on the homework readings. There will be no cumulative mid-term or final. 

        The texts will be David Crystal’s The Cambridge Encyclopedia of the English Language, 2d edition (Cambridge University Press, 2003); Laurie Bauer and Peter Trudgill’s Language Myths (Penguin, 1998), and Robert McCrum’s The Story of English, 3d edition (Penguin Books, 2002).

ENG/LIN 210-401  History of the English Language

MW 6:00-7:15

O’Hara

See description for ENG/LIN 210-001 above

ENG/LIN 210-402  History of the English Language

TR 6:00-7:15

O’Hara

See description for ENG/LIN 210-001 above

ENG/LIN 211-001  Introduction to Linguistics I

MWF 10:00-10:50

Bao, M.

The first semester of a sequence of introductory courses on the scientific study of human language. We will explore the units of meaning and patterned structures of three of the four aspects of human grammar: morphology, phonology and syntax. We will then examine how the morphological, phonological and syntactic systems of all human languages are similar, and how they can change over the course of time. 

ENG/LIN 211-002  Introduction to Linguistics I

MWF 10:00-10:50

Harden, K.

See description for ENG/LIN 211-001 above

ENG/LIN 211-003  Introduction to Linguistics I

MWF 11:00-11:50

Bosch, A.

See description for ENG/LIN 211-001 above

ENG/LIN 211-004  Introduction to Linguistics I

MWF 11:00-11:50

Barrett, R.

See description for ENG/LIN 211-001 above

ENG/LIN 211-005  Introduction to Linguistics I

MWF 11:00-11:50

Hippisley, A.

See description for ENG/LIN 211-001 above

ENG/LIN 211-006  Introduction to Linguistics I

MWF 12:00-12:50

El-Guindy, B.

See description for ENG/LIN 211-001 above

ENG/LIN 211-007  Introduction to Linguistics I

MWF 1:00-1:50

Harden, K.

See description for ENG/LIN 211-001 above

ENG/LIN 211-008  Introduction to Linguistics I

MWF 3:00-3:50

Harden, K.

See description for ENG/LIN 211-001 above

ENG/LIN 211-009  Introduction to Linguistics I

TR 12:30-1:45

El-Guindy, B.

See description for ENG/LIN 211-001 above

ENG/LIN 211-010  Introduction to Linguistics I

TR 2:00-3:15

O’Hara, M.

See description for ENG/LIN 211-001 above

ENG/LIN 212-001  Introduction to Linguistics II

MW 4:00-5:15

Harden, K.

The second semester of a sequence of introductory courses on the scientific study of human language. The purpose of this course is to expand students' knowledge of linguistics as an academic discipline through a study of various subfields of applied linguistics, focusing on the main issues and problems of interest in semantics, first and second language acquisition, psycholinguistics, neurolinguistics, sociolinguistics, and animal communication. 

ENG/LIN 212-002  Introduction to Linguistics II

TR 9:30-10:45

Guardino, D. 

This is the second semester of a two-semester sequence introducing the study of Linguistics.  Linguistics is the scientific study of human language as a system.  Everyone knows a language – but what does it mean to know a language?  How are languages different from one another?  How are they similar?  This course will introduce students to the social aspects of the study of linguistics, focusing on the issues and problems of interest within each of these fields.  Topics include semantics, historical linguistics, first and second language acquisition, sociolinguistics, brain and language, psycholinguistics, and animal communication. 

ENG/LIN 212-003  Introduction to Linguistics II

TR 2:00-3:15

El-Guindy, B.

See description for ENG/LIN 212-001 above

ENG/LIN 212-004  Introduction to Linguistics II

TR 3:30-4:45

Lauersdorf, M.

See description for ENG/LIN 212-001 above

ENG 230-004  Introduction to Literature: Banned Books from Huckleberry to Holden to Harry

MWF 1:00-1:50

Carter, M.

Why are school districts and some parents afraid of Harry Potter, Huckleberry Finn or others? Why are certain works and their characters’ words either avoided or expurgated to gain admittance into the corridors of high schools? This course will read these works and examine the historical and cultural reasons for the books’ being challenged in the past or today. Poems such as Whitman’s “Leaves of Grass” and Ginsberg’s “Howl” have rallied opponents to suppress their inclusion in anthologies. We’ll try to redeem or reject these texts through close readings and research into the complaints about the books and into the themes of the texts. Coursework will include readings and two 8-10 pages essays as well as shorter writing assignments.

ENG 230-006  Introduction to Literature: Trauma and the Imagination’s Path to Healing

MW 3:00-4:15

Campbell, T.

With catharsis at their heart, narratives of trauma and loss offer themselves up as pathways toward healing, for writers and readers alike. As our reading takes us from Tim O’Brien’s battlefields in Vietnam to Maurice Manning’s Kentucky back roads, and beyond, we will explore in depth the power of the imagination to make sense of otherwise overwhelming experience. With an eye always on literary form and meaning, we’ll examine the many ways poetry, prose fiction, stage plays and film grapple with trauma, and sometimes even say a blessing over it. Reading will include O’Brien’s seminal collection of linked Vietnam war stories, The Things They Carried, and Manning’s prize-winning linked poetry collection, Lawrence Booth’s Book of Visions, as well as Alice Sebold’s metaphysical detective novel, The Lovely Bones. We’ll also screen The Diving Bell and the Butterfly, and adapt scenes from Lisa Kron’s recent Broadway one act, Well, in class. And as writing is central to this class, which fulfills the second tier of the undergraduate writing requirement, we will write regularly, in class and out, often imitating and responding to the forms under review, in poems and reader response prose alike. Final grade will be based on in-class work, two formal essays (five and ten pages), and midterm and final exams.

ENG 230-010  Introduction to Literature: Readings in Revenge

TR 11:00-12:15

Prats, J.

In this introduction to the study, appreciation, and criticism of literature, we will read (and reread) literary works that explore the theme of revenge. We will discuss and write about portrayals of revenge in written texts (short stories, poems, plays, and movies) and in several filmed adaptations of assigned readings. Inquiring into the theme of revenge, we will examine contexts, genres, conventions, literary devices, and literary terms to discover productive ways of reading and getting to know a literary work. The course should help students become more informed and engaged readers who can write credibly about literature. It should also help students develop and polish their writing skills.

Note: ENG 230 satisfies the Graduate Writing Requirement (GWR) for those students who have completed 30 hours of course work, including ENG 104 or its equivalent.

Requirements: regular attendance and class participation; three literary analysis essays (including two four-page essays and one seven-page essay, with each assignment requiring drafts and peer reviews); frequent in-class writing, close-reading exercises, and quizzes.

The class, which meets in a computer lab classroom, requires students to compose their work in Microsoft Word, to consult the course site on Blackboard for all course information (assignments, announcements, documents, external links, etc.), and to turn in not only printed documents but also electronic submissions to the Blackboard Digital Dropbox.  

ENG 232-001  Literature and Place

MWF 12:00-12:50

Reece, E.

This class will focus of the fiction and the nonfiction (one book each) of four Kentucky writers whose work is strongly grounded in a sense of place: Wendell Berry, Bobbie Ann Mason, Barbara Kingsolver and Ed McClanahan.

ENG 234-003  Introduction to Women’s Literature

MWF 2:00-2:50

Rogers-Carpenter, K.

In ENG 234, we will read works by contemporary women writers, including Arundhati Roy's The God of Small Things, Alice Walker's The Temple of My Familiar, and Laura Esquival's Like Water for Chocolate. Although these works originate from different former colonies, this course emphasizes their common themes and perspectives. Together, the class will consider how women's experiences differ across cultures, whether the texts suggest a transnational feminism or not, how these authors negotiate feminist and/or women's issues, and how they (re)construct personal and cultural history.  Course requirements include two exams, two papers, two presentations, participation, and short writing assignments.

ENG 261-001  Western Literature from the Greeks to the Renaissance

MWF 10:00-10:50

Campbell, D.

English 261 is a course in which students satisfy the Graduation Writing Requirement by engaging and writing about great literary works from the ancient world, the medieval world and the Renaissance. The course focuses on great works that represent main elements in the evolving culture and helped shape our current world. As we trace the three periods, certain repeated themes will lend continuity to the course: life as a voyage or pilgrimage; human origins and purpose and therefore our relatedness to and alienation from nature, the gods, or God; the evolving concept of justice; the human as heroic, tragic, comic; what, for each author, seems to constitute success; and the place of the artist in or on the fringes of society. Students will go through the drafting process and peer review in writing three papers of five to seven pages. 

ENG 261-002  Western Literature from Greeks to the Renaissance

MWF 11:00-11:50

Campbell, D.

See description for ENG 261-001 above

ENG 261-201  Western Literature from Greeks to the Renaissance

Internet course

Fulbrook, D.

From the creation stories of Genesis and Ovid through Dante’s Inferno to Milton’s Paradise Lost, this class will move from heaven to hell and back again to explore the history of Western Literature from the Ancient World through its rebirth in the Renaissance and Reformation.  From Homer’s The Iliad  to Shakespeare’s A Midsummer Night’s Dream, in this class we will explore the battlefields and bedrooms, graveyards and gardens, dreams and delusions, loves and lessons through which the tradition of Western literature is mapped, imagined, defined and redefined– over time, across cultures and genres, and within literary studies.  Texts will include: excerpts from the Hebrew Bible and Ovid’s Metamorphoses, writings about and by medieval women, Homer’s The Iliad, Sophocles’ Oedipus Tyrannus and Antigone, Dante’s Inferno, Shakespeare’s A Midsummer Night’s Dream, and John Milton’s Paradise Lost.  This course can fulfill the requirement for an upper-tier writing course.

ENG 261-202  Western Literature from Greeks to the Renaissance

Internet course

Fulbrook, D.

See description for ENG 261-201 above

ENG 281-001  Introduction to Film 

TR 12:30-1:45

Marksbury, T.

Our experience of film is so immediate and so simultaneous that this course attempts to break down the elements of confronting a movie into smaller, more manageable units--cinematography, editing, etc.  At the same time, the overarching point of view will be our reception of narrative patterns and genre conventions.  Towards that end, we will look at classical and more contemporary examples of the horror film, the screwball comedy, the western, the noir, etc.

     We will also examine at least one silent film and a handful of so-called “art films” from other countries.  With any luck, close readings of these movies will yield both particular riches and more general conclusions about the nature of film.  When we first start really thinking about film, we depend too much on how we are taught to think about literature.  Although a focus on such matters as character, dialogue, and them is important, even essential, the jump we aim to make here is analyzing film as film, looking into the uniquely cinematic properties of these visual texts before us.

     We will be using The Film Experience, by Corrigan and White, 2nd edition, and A Short Guide to Writing About Films, by Corrigan, as required reading.  Films will range from Spike Lee’s X to James Whale’s Bride of Frankenstein, from Orson Welles’ Touch of Evil  to Jean Luc Godard’s Pierrot le Fou.  Note:  most film viewings will be scheduled outside of class.  Expect plentiful discussion, a very short (5-7 pages) and somewhat longer (10-12 pages) essay, a mid-term, and a final exam which is not comprehensive.

ENG 281-002  Introduction to Film

MWF 9:00-9:50

Howell, D.

This is a basic introduction to the study of film.  We’ll look at film history, editing, cinematography, sound, genres, mise-en-scene etc.  Such examination will require you to learn and use a number of new terms while looking at movies analytically, which will entail viewing each of the assigned films (more than once), as well as discussing each film, taking notes, reading and discussing our text, and using our text to help us “read” the “text” of  the film.  The order of the films is chronological, and includes silent films, black and white films, and R-rated films.  Three five-page essays, Final Exam. 

ENG 281-003  Introduction to Film

MWF 10:00-10:50

Howell, D.

See description for ENG 281-002 above

AC 301-001  Topics in American Culture

T 3:00-5:30

Rust, M. 

British, African and Native American, enslaved and indentured, male and female, ministers, heads of state and condemned criminals on their way to the scaffold:  all these inhabitants of North America have found occasion to engage in some form of life-writing.  In this class we examine their words, both to broaden our understanding of why and how people choose to narrate a self into being, and to narrow our focus on a particular historical period newly accessible to us through a host of recently discovered personal writings. American life-writing before the Civil War challenges our assumptions regarding what counts as autobiography and what purposes it serves.  How did early Americans surmount the obstacles to rendering fluid life experience in the clumsy medium of language, and what can we learn from their attempts as we engage in our own practices of self-narration?

ENG 306-001  Introduction to Professions in Writing

TR 3:30-4:45

Mareck, A.

This course overviews a few of the many possible professions in writing. The main focus will be in-class presentations by invited speakers who will provide insight to their work and workplace through talk, example, and class discussion. Assignments for the course will involve reflective and exploratory writing in and about the various genres presented, and emphasis will be placed on rhetorical variation. Professions in Writing explored in class may include activist writing, college teaching in rhetoric and composition, community writing, computers and writing, editing, environmental writing, free-lance writing, grant writing, literary journalism, magazine writing, new media writing, nonfiction writing, professional writing, publicity, publishing, science writing, teaching English as a second language, teaching writing in public schools, technical writing, writing about technology, writing for nonprofits, and/or others. Prerequisite: Fulfillment of University Writing Requirement. 

LIN 317-001  Language & Society: Bilingualism

TR 9:30-10:45

El-Guindy, B.

This course is designed to introduce students to the linguistic, psycholinguistic, sociolinguistic and societal aspects of bilingualism.  The class will examine how bilingualism is defined and measured, the development of bilingualism, linguistic behaviors of bilingual speakers, the psycholinguistic and neurolinguistic bases of bilingualism, the relationship between language and identity, language maintenance and language loss, and issues of education and language planning for bilinguals and society as a whole. 

LIN 317-002  Language & Society: Language & Global Hip Hop Culture

MWF 1:00-1:50

Barrett, R.

This course will examine the sociolinguistic issues associated with Hip Hop music and culture, both in the United States and in a global context.  The first part of the course will discuss the emergence of Hip Hop and its relationship to traditional African American forms of verbal art. The course will then examine the grammar of African American English (AAE) and the importance of AAE in Hip Hop music. We will then consider sociolinguistic issues related to Hip Hop in the United States, including the language ideologies associated with Hip Hop, language and gender in Hip Hop culture, and the use of AAE by youth who are not themselves African American. We will then examine bilingual forms of Hip Hop in the United States, focusing on music by Latino and Native American artists. The course will then turn to the relationship between Hip Hop and globalization, examining the sociolinguistic and political implications of a global movement that places high importance on conveying authentic local identity. The various forms of global Hip Hop considered will include artists from Canada, Europe, Latin America, Africa, Australia, China and Japan. 

LIN 318-001  Semantics & Pragmatics

TR 3:30-4:45

Rouhier-Willoughby, J.

This course will explore the depth and range of meaning in language. We will study the nature of meaning in words, how we convey meaning in sentences and what factors, other than lexical definitions, play a role in how we intend and interpret meanings. We will explore and apply the major theories of linguistic semantics and pragmatics to a wide array of languages. Students will perform a data collection project on a topic of their choice in semantics or pragmatics. 

ENG 330-001  Text & Context: Literary London

MW 3:00-4:15

Kalliney, P.

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

MWF 12:00-12:50

Oaks, J.

Liminality is about the dissolution of space.  Consequently, liminal figures stand at a threshold which adjoins two (or more) opposing fields: physical, philosophical, social, political, etc.  Such characters must, therefore, navigate conflicting realities.  Sometimes this ambiguity precipitates a crisis, sometimes a boon for the personality involved; but always, it complicates the effort to construct an identity.

Probable texts for this course include: The Wonderful Adventures of Mrs. Seacole in Many Lands (1857) by Mary Seacole (colonial/postcolonial positions), Behind a Mask (1866) by Louisa May Alcott (gender /class dynamics), The Strange Case of Dr. Jekyll and Mr. Hyde (1886) by Robert Lewis Stevenson (conceptions of good/evil), Contending Forces (1890) by Pauline Hopkins (racial formation/socialization), Tarzan of the Apes (1914) by Edgar Rice Burroughs (civilization/the primitive), and Wuthering Heights (1847) by Emily Bronte (many of the above dichotomies).

Each student will write one short and one long paper as well as give an in-class presentation.  All class members will be encouraged to participate in discussions enthusiastically.

The class will emphasize composing processes from discovery draft through final project.  Part of class time will be devoted to workshopping student papers with attention to content, style, and organization. 

ENG 330-004  Text & Context: Invisible Man

MW 4:30-5:45

Nadel, A.

The course will examine Ralph Ellison’s Invisible Man in its historical and literary contexts. The additional texts we will discuss include work by Dostoyevsky, Melville, Emerson, Whitman, Twain, T.S. Eliot, James Joyce, Frederick Douglas, W.E.B. DuBois, Richard Wright, and Lewis Mumford.

MW 4:30-5:45

Oaks, J.

“Goblin Market” (1862) by Christina Rossetti occupies a dynamic position within her own work as well as in the literature of the 19^th century.  This remarkable poem overflows traditional generic boundaries—being part fantasy, part “fallen-woman” narrative, part allegory, part female poetics, part feminist manifesto. 

Students will give one short article presentation, and write one short (5-6 page) and one long (10-12 page) paper. 

Workshopping and general discussion of texts will dominate class time.  After a careful reading of literary and student writing, class members will offer cordial yet persuasive arguments for their positions.  These activities—writing and critical response—constitute the heart of the course.

Probable texts include:

The Vampyre (1819) by John Polidori

Lady Aubley’s Secret (1862) by Mary Braddon

The poetry of Emily Dickinson (selections from the 1860’s)

Alice’s Adventures in Wonderland (1865) by Lewis Carroll

The Necklace of Princess Fiorimonde and Other Stories (1880) by Mary de Morgan

Iola Leroy (1892) by Frances E.W. Harper

ENG 330-006  Text & Context: Their Eyes Were Watching God

MWF 9:00-9:50

Rogers-Carpenter, K.

Just as college students struggle financially in 2009, Zora Neale Hurston found herself penniless in the 1930s, and in need of motivation.  In a letter to her mentor, anthropologist Franz Boas, she explained that “It is hard to apply oneself to study when there is no money to pay for food and lodging. I almost never explain these things when folks are asking me why I don't do this or that.”  Hurston spent much of her life balancing her drive to write with the need to support herself in the face of racism and sexism. This course explores the context in which Hurston wrote Their Eyes Were Watching God (1937)—a novel that examines the themes of gender, work, and race.  We will begin the course with Hurston’s novel and then turn to earlier works by Alice Dunbar-Nelson and Pauline Hopkins—African American writers who were also concerned with women, labor, and equality.  Hurston is best-known for her participation in the Harlem Renaissance as a writer and editor, so we will compare her work with that of Langston Hughes and Richard Wright to better understand the era’s political climate. 

Like her contemporaries, Hurston’s publishing and work opportunities were limited by the depression.   The State Library and Archives of Florida website describes Hurston’s government employment in the 1930s, but she also relied on patrons like author Fannie Hurst for financial backing.  Reading Hurst’s novel Imitation of Life (1934), in conjunction with firsthand accounts about the depression delineates prevailing attitudes about race, gender, and work during this era. Finally, we will look at works by Dorothy West, Alice Walker, and Toni Morrison to consider Hurston’s influence on later writers and how the key issues in Their Eyes Were Watching God play out in contemporary texts.  Course requirements: two papers, two exams, two presentations, participation.

ENG 331-001  Survey of British Literature I

TR 11:00-12:15

MacDonald, J.

English 331 is the first part of the British literature survey, looking at this vast body of work from its earliest beginnings though about the end of the sixteenth century. The course is designed to help students develop a sense of the chronology and historical development of English literature and culture: major modes, authors, texts, and influences. English 331 helps fulfill the University Studies Requirement, and can be used to fulfill degree requirements for students in many departments in Arts and Sciences and other colleges of the university. Frequent reading quizzes, short papers, and two exams. The textbook will be the Norton Anthology of English Literature, eighth edition, volume one.

ENG 332-001  Survey of British Literature II

TR 12:30-1:45

ENG 333-001  Studies in British Author: Blake & Romanticism

MWF 12:00-12:50

Campbell, W.

The class will focus upon the poetry of William Blake, looking carefully at key poems, tracing the shape of his career, and setting his work in the shifting context(s) of his time and of his English contemporaries' poetry. Required of each student are regular attendance, participation in class discussions, and the writing of two medium-length essays, two examinations during the semester, and one final examination.

ENG 334-001  Survey of American Literature I

TR 12:30-1:45

Rust, M.

This class provides a selective overview of American literature to 1865.  Our focus this semester will be on the concept of “threat”:  we will examine writings in which individuals respond to a perceived challenge to their bodily safety, their beliefs, their identities, or their very existence as a people.  Given this primary topic, much of our material will concern Native Americans, African Americans, women, and the poor.  Many of these individuals you will not have heard of before.  We will also read writing by classic American figures such as John Winthrop, Jonathan Edwards, Thomas Jefferson, Ralph Waldo Emerson, Nathaniel Hawthorne, Henry David Thoreau, Walt Whitman, Emily Dickinson and Herman Melville.  It is my dual hope that canonical texts will obtain new significance in the context of lesser-known literature and that many of the more obscure readings will attain the status of American classics in your mind.

ENG 335-001  Survey of American Literature II

MWF 11:00-11:50

James, P.

This course offers a survey of American literature from Mark Twain’s Adventures of Huckleberry Finn to the present.  In order to bring this vast literary territory into focus, we will focus primarily on one literary form, the novel, and a few of the major preoccupations of American writers, namely: what social role does literature play in America?  Whose stories (past and present) count as American?  What kind of American identity is literature describing and helping to form?  What are the burdens, benefits, and responsibilities that American institutions create, and that American fiction writers attempt to influence?  After reading Twain, we will consider various apparitions of “the modern” and “modernism,” as they appear in representative American texts by Stein, Wharton, Fitzgerald, Eliot, and Hemingway, and in the first movie with synchronized sound, The Jazz Singer.  We will pay special attention to the ways in which modernism is gendered (as monstrous women, as wounded men) and the ways in which it depends upon and confounds racial categories: is it “mongrel”?  or does the “modern” encounter give rise to both “blackness” and “whiteness”? With Faulkner as our turning point, we will turn from the modern period to various post-war novels that explore the problems of narrating America’s secrets, past and present.  Can literature enable us to mourn our collective mistakes and losses?  Can it challenge us to re-imagine our national past and future?

Readings include:
Twain, Mark Adventures of Huckleberry Finn
James, Henry Daisy Miller
Wharton, Edith Custom of the Country
Stein, Gertrude Three Lives  
Canfield  (Fisher), Dorothy The Home Maker
Hemingway, Ernest In Our Time
Fitzgerald, F. Scott Great Gatsby
Faulkner Absalom, Absalom
Morrison, Toni Song of Solomon
O'Brien, Tim Things They Carried

Requirements: 2 papers, midterm, final, attendance, quizzes, occasional short homework assignments. It’s a 60 person lecture, but fairly interactive.  Each class includes some discussion.

ENG 336-001 Studies in an American Author: Charles Chesnutt

MW 3:00-4:15

Davis, R.

This course is an extensive and exciting study of an American author, Charles W. Chesnutt, one of the most prolific writers in the African American literary tradition.  Chesnutt’s fictions address a wide range of themes including racial passing, “illicit” interracial sex and marriage, and interracial violence.  Throughout his literary career, Chesnutt interrogated what W.E.B. Du Bois dubbed the “problem” of the twentieth-century (and beyond):  the color line.  We will pursue a similar line of inquiry in our assessment of Chesnutt’s literary oeuvre by analyzing how his fictions intervened in social crises such as segregation and racial discrimination.  Moreover, we will examine how Chesnutt’s contemporaries--William Dean Howells and Mark Twain-- responded to his representation of race relations in the late nineteenth- and early twentieth-centuries.  Course readings will include Chesnutt’s short story collections, The Wife of His Youth and other Stories of the Color Line and The Conjure Woman and other Conjure Tales; two novels published during his lifetime, The House Behind the Cedars (1900) and The Marrow of Tradition (1901); and, two novels published posthumously, The Quarry (1999) and Paul Marchand F.M.C. (2005). 

Requirements:  short bibliographic project, 5-7 -page essay, midterm, and final exam

ENG 336-002  Studies in an American Author: Nathaniel Hawthorne

TR 11:00-12:15

Clymer, J.

Too often, the pleasure and interest of reading Nathaniel Hawthorne’s amazing fiction is pounded out of our heads by being forced to read his writing too early.  Hawthorne is far from simply the Puritan and sin-obsessed author whom I, for one, encountered when forced to read The Scarlet Letter in 9^th grade.  A pox on Mrs. ________! 

In this class, instead of just old sin-befuddled Nathaniel, we’re going to read an author who is one of our great literary stylists and most powerful analysts of life’s most pressing issues.  His work asks us to think about the (conscious and unconscious) motivations of our own (and others’) behaviors; he takes up questions of adultery, romantic commitment, the power and fear of secrets within intimate relationships, the weird power plays of friendships, the desire and inability to really, deeply “know” other people, not to mention the strange enticements of voyeurism.  Besides these broader themes, we will also learn more particularly about Hawthorne’s engagement with the major questions of his day (especially the emergence of women’s rights and antislavery movements).  We will also learn a goodly amount about the mid-19^th century milieu in which he lived and worked. 

We will read many of Hawthorne’s short stories and his four major novels.  Grade will be based on a short historical research project, 5-7 page interpretive essay, midterm, and final exam.

ENG 336-003  Studies in American Authors: Appalachian Literature

MWF 11:00-11:50

Reece, E.

This course will survey the fiction, poetry, memoir, music and film of Appalachia, giving special emphasis to the writers of central Appalachia: James Still, Denise Giardina, Verna Mae Slone, Gurney Norman and many others.

TR 9:30-10:45

Marksbury, T.

After some preliminary attention to the very early short films of the Lumiere brothers, Melies, and Porter, we’ll plunge in with Griffith and Within Our Gates, focusing on the glory years of the silent film through the nineteen-twenties and moving through the transition to sound in the early thirties and the triumph of the studio system in the nineteen-forties and fifties.  The films themselves will be a mix of the canonical (Citizen Kane), the cultified (Greed), the overlooked (The Cat People), and the eternally left of center (Freaks, Haxan:  Witchcraft Through the Ages).

     Although the viewing schedule will be skewed somewhat in the direction of American film, we will also try to touch upon international cinema as it developed in Germany (a fair amount of time on the Expressionists), France (at least Renoir and maybe Cocteau), Italy (the Neo-Realists), Japan (Ugetsu) and Mexico (if that’s where you choose to locate the wandering Bunuel).  Aesthetic developments will be stressed over technical advances, but the beginning of this story is certainly about how each informs the other.  Although many of these films could be viewed as isolated “masterpieces”, this course aims to understand how they still speak to one another across time--and how they continue their conversation with us as well.

     The text will be A History of Narrative Film, by David Cook, 4th edition.  Note:  all film viewings are scheduled outside class.  Expect two movies a week, lively discussion, and three exams, each of which has an in-class and a take-home essay component.

ENG 401-002  Special Topics in Writing: Creative Nonfiction

MWF 1:00-1:50

Reece, E.

In this course, we will employ many of the techniques of fiction—dialogue, pacing, creation of character and landscape—to shape true stories. We will examine some of the best essays in the genre to get a feel for the range and possibilities of creative nonfiction. All students will present their work aloud in class.

T 3:30-6:00

Norman, G.

My English 207, 407 and 507 Creative Writing (fiction) courses are organized around a basic structure. English 207 is an introductory course in fiction writing; English 407 is an intermediate course and English 507 is the advanced course in the fiction series. In each of these courses, students at different levels of experience practice the art of fiction writing. The focus is on short story writing but other forms of narrative (autobiography and creative non-fiction) may be included. The class meetings feature writing exercises in which students practice various aspects of traditional short story writing such as plot development, dialogue, description, character development, and styles of narration. Innovative fiction is welcome. Each week throughout the semester, students will be asked to bring to each class 3-4 pages (800-900 words) of new writing. These assignments will be in the form of “take home”exercises. In addition to the weekly writing exercises in and out of class, students will produce three polished, original stories during the semester that represent the student’s best effort.

All students will be invited to read their work aloud in class for critique and discussion, but there is no requirement to read aloud. The class serves as a live audience for new writing by each student. Class meetings will feature discussion of student work as well as discussion of published stories by established authors. Grading is based on attendance, participation and quality of writing.

ENG 407-002  Intermediate Workshop in Imaginative Writing: Poetry

W 3:00-5:30

Vance, J.

Imaginative Writing 407-002 is an intermediate course in the craft of

writing poetry.  Class sessions will be devoted to the reading and discussion of student work, to writing exercises, and to the consideration of published poems that we will read critically and use as models.

BOOKS:  A journal-book (Kennedy)

A. Poulin (ed.), Contemporary American Poetry, 7^th  edition (Houghton Mifflin)

ENG 407-003  Intermediate Workshop in Imaginative Writing: Screenwriting

R 3:30-6:00

Marksbury, T.

Intended not so much as an introductory course but as a more intensive and ambitious intermediate level workshop, designed for students who are interested in launching, critiquing, and following through as far as possible on an extended project in the screenplay form.  Working outwards from the bare bones of the individual “beats” and the isolated scene, we’ll try to build on that earliest connective tissue and develop a larger structure.

     By the end of the semester, you’ll be expected to have nailed together the treatment for a feature-length screenplay and at least a revised version of the first 60-75 pages of the three acts which would comprise it.  We’ll run sections of your writing through the workshop and you’ll be expected to revise, enhance, and polish it as much as possible.

     Regular attendance, an openness to sincere and constructive criticism and a willingness to provide it are a must.  In addition to the central writing project, we will discuss a number of films which will serve as paradigms in terms of  construction, tension and resolution, dialogue, character development, etc.  I hope this will help us to think in more pragmatic terms of what screenplays can and cannot accomplish.

     Required, more as a reference on format than anything else, but essential for that reason, is The Screenwriter’s Bible, by David Trottier, 4th edition.

ENG 480G-001  Studies in Film: Shakespeare & Film

MWF 10:00-10:50

Foreman, W.

A study of a variety of Shakespeare's plays in both written and filmed forms.  We will begin with the poetic, dramatic, and (to some extent) theatrical values of Shakespeare's texts and thus especially with Shakespearean language ("wordplay") and the way words reveal, and hide, and make, character.  Then we will turn to movies made of or from the plays and to the elaborate and subtle visual "language" movies use to tell stories.  Inevitably, and intentionally, we will speak of what the filmmakers have "done to Shakespeare," but it is important to recognize that we will see the films not only as versions of the plays but also as original and integral works.  We will also attend to way the intelligence and imagination of audiences, including ourselves, engage the gaps in time and culture back to other periods, people, and places--to Shakespeare as the 16th century became the 17th, to people in several countries a hundred years ago trying to figure out how to "film Shakespeare," to Laurence Olivier in World War II Britain, to Akira Kurosawa in Japan in the 1950s (and again in the 1980s), to Al Pacino in 1990s' America, and so forth.  The sweep we make from Shakespeare's Titus Andronicus (c. 1592) to Julie Taymor's Titus (2000) should tell us something about the world over the last four hundred years and about ways of seeing it.

NOTE:  For Fall 2009, ENG 480G-001 and ENG 481G-001 are the same course, meeting at the same time and place with the same instructor and syllabus.  Topics for papers and exams will vary somewhat to accommodate primary focus on play text or film, according to student interest.  Students may register for whichever section best suits their curricular plans.

ENG 481G-001  Studies in British Literature: Shakespeare & Film

MWF 10:00-10:50

Foreman, W.

Same as ENG 480G-001; see description for ENG 480G-001 above

ENG 482G-001  Studies in American Literature: American Renaissance

TR 9:30-10:45

Clymer, J.

The American 1840s and 1850s witnessed an amazing burst of exceptional literary creativity.  Traditionally, American writing from this decade has been labeled the “American Renaissance,” and Hawthorne, Melville, Emerson, Thoreau, and Whitman have been singled out as the coolest.  Indeed, their writing is super-fine and we’ll read it in this class.  All the same, as literary scholars have been busily showing for the last 25 years, there’s a tremendous amount of other great writing from this period that the traditional account of the “Renaissance” blithely, and to its sad impoverishment, simply ignores.  For example, the nation’s about to blow apart because of slavery, and this small fact prompted a metric ton of great and meaningful literature by authors black and white.  In the 1850s, writers were also enthralled with issues of emotional intimacy, sexuality, and gender roles, and so we’ll check those out too.  Not to mention that the U.S. is also thinking about appropriating Cuba and other Caribbean countries in this decade.  But this is just to name a few of the many questions and literary topics to which we’ll be turning our collective eyes.

Likely texts include Herman Melville, Moby-Dick; Nathaniel Hawthorne, The House of  the Seven Gables; Susan Warner, The Wide Wide World; Edgar Allen Poe, selected stories; Henry Thoreau, selected essays; Fanny Fern, Ruth Hall; Walt Whitman, Leaves of Grass; Frank Webb, The Garies and their Friends; Martin Delany, Blake

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

ENG 484G-002  Comparative Studies in Literature: World War I

MWF 1:00-1:50

James, P.

Meets with ENG 484G-001

Surveying a range of novels, poems, films, paintings, sculptures, histories, and primary documents from the 1910s and 20s, from Britain, the United States, France and Germany, this course will develop a comparative understanding of World War I and its literary legacies.
            World War I was the first truly mechanized war, involving the first widespread use of chemical weapons, machine guns, submarines long-range artillery, and airpower; it was also the first war of mass conscription. Over ten million soldiers died; another forty million were wounded. Entire landscapes were destroyed. The cultures of Europe and the United States were transformed.
            The war changed the world in ways that writers, filmmakers, and artists struggled to represent.  How could they represent the war’s brutality, its modernity, and its scope?  How did the war change literature?

Major authors include: Virginia Woolf, T. S. Eliot, F. Scott Fitzgerald, Ernest Hemingway, soldier poets Sassoon and Owen, Erich Maria Remarque, and others.

ENG/LIN 512-001  Modern English Grammar

MWF 10:00-10:50

Hippisley, A.

An introduction to contemporary syntactic theory and its application in describing and explaining the properties of English grammar. Topics include the principles of phrase structure; the syntactic projection of lexical information, agreement and government phenomena; binding relations; and transformational movement and the constraints which restrict it.

ENG/LIN 513-001  Teaching English as a Second Language

MW 4:30-5:45

Clayton, T.

The course will examine the current theories and methods of teaching English as a Second Language. How do people learn languages, in particular, English? What are the implications of the spread of English throughout the world? The course will include (1) language learning theory as it relates to other disciplines; (2) methods and techniques of contrastive analysis. This course will be particularly appropriate for students interested in learning foreign languages as well as those in Education and speech pathology.

ENG/LIN/ANT 515-001  Phonological Analysis

W 3:00-5:30

Bosch, A.

The study of Phonology is the study of the sounds of human language, and of the systematic organization of these building blocks of human speech. This course aims to demonstrate the regularity of sound structure in speech, and the information carried by the smallest pieces of language.  We will also discuss the relevance of linguistic theory to today's world, including issues of speech pathology, child language acquisition, accent and dialect difference, foreign language learning, and computer-based technologies such as "hearing" and "speaking" machines.

        At the end of the semester, the student will be able to:

·         use the International Phonetic Alphabet to represent the basic sounds of American English.

·         understand how a language employs a limited set of sounds to convey meaningful differences between words.

·         analyze language data, and formulate and test hypotheses.

These skills will be developed by practicing linguistic analyses: discovering the structural patterns in languages drawn from all over the world (Africa, Asia, Europe, the Americas). 

        Written requirements: There will be 3 written homework assignments, and numerous short problem sets.  In addition there will be 5 quizzes, but no final exam.  Your last homework assignment will be due during exam week. 

LIN 520-001  Sanskrit I

TR 2:00-3:15

Stump, G.

The objective of this course is to enable students to read and write Sanskrit, the classical language of ancient Northern India and the ancestor of the Modern Indic languages.  Students will learn the devanāgarī writing system and the fundamentals of Sanskrit grammar; our textbook will be Madhav Deshpande’s Sanskrit Primer.

ENG 572-001  Studies in English for Teachers: Visual Rhetoric

TR 3:30-4:45

Endres, W.

In this seminar, we will study the rhetorical dimensions of visual literacy. We will begin with W.J.T. Mitchell’s Iconology as a way to map the landscape of the image, paying particular attention to his discussion of Aristotle, who believed that it is not possible to think without an image. We will examine rhetorical methods developed for speech and text, like neo-Aristotelian and fantasy-theme, and adapt them for uses with images. We will read scholarly studies in visual rhetoric to help guide us, particularly the edited collection Defining Visual Rhetoric. We will complicate known rhetorical approaches by pulling from theorists and art historians, including Rudolf Arnheim, Michael Foucault, Jean Baudrillard, Jacque Derrida, Heather Pulliam, and Barbara Maria Stafford. In addition, we will examine the physiology of vision to contemplate its effects on our communicative strategies and practices. Our goal will be to examine the image in a number of different ways, in a number of different usages, and within a number of different time periods. Therefore, we will explore visuals from illuminated manuscripts to flash animations to cereal cartoon mascots to documentary films to power point presentations (including ones hijacked by visual artists) to newspapers to photos in Facebook. The course will conclude with a written paper (a multimedia alternative will be possible) in which you rhetorically analyze an images or images of your choice, using a method we have developed in class or one that you have developed from the readings.

ENG 609-001  Composition for Teachers

TR 9:30-10:45

Mountford, R.

Writing instruction arrived in the modern university long after the classical system of education had passed away, taking with it the study and practice of such arts of citizenship as rhetoric. When the 1960s arrived and students began to protest against required writing courses they considered irrelevant to their needs and experience, English faculty were largely unprepared to respond to them. Rhetoric and composition studies arose around 1971 to answer questions about how to teach writing in a modern university in a way that mattered to students. Since then, composition pedagogy has evolved to meet new challenges posed by social contexts within/beyond the university. Through a broad overview of theories and practices in the teaching of writing, this course will prepare students to join a community of scholar-teachers who are reinventing writing for the needs of twenty-first century students.  In particular, we will consider how writing prepares students to be citizens.

ENG 642-001  Studies in Modern British Literature

T 3:30-6:00

Allison, J.

Yeats, Joyce, Beckett and Irish Modernism. A course on the writings of W.B. Yeats, James Joyce and Samuel Beckett in relation to their social, political and literary contexts.  We’ll consider Yeats as anomalous among this group in his anti-modernism, and we’ll examine the critical debates surrounding his relationship to High Modernism and some of the key modernist figures including Eliot, Pound and Joyce. In what ways have Joyce and Yeats been construed as twin poles, aesthetically and intellectually, in modern British and Irish literary culture? We’ll explore these authors in relation to the Anglo-Irish Literary Revival and to transatlantic modernism, exploring the complex relationships between Irish modernism, British and international literary culture. Does it make sense to say, as Hugh Kenner has said, that Beckett was the last modernist? Required: oral reports, one shorter paper and a longer term paper. Required texts: Yeats: The Poems; Selected Plays. Joyce, Dubliners; A Portrait of the Artist as a Young Man; Ulysses. Don Gifford, Ulysses Annotated. Beckett, Murphy; Selected Plays.

ENG/AAS 656-401  Black American Literature

M 6:00-8:30

Davis, R.

The preface to author/activist Pauline Hopkins’s 1900 novel, Contending Forces:  A Romance Illustrative of Negro Life North and South, argues that “Fiction is of great value to any people as a preserver of manners and customs—religious, political and social.  It is a record of growth and development from generation to generation” (13-14).  This course examines the development of the African American novel from 1857-1948.  Using Hopkins’s claim that (black) fiction is a political tool, we will consider how black writers used the novel to agitate for racial and gender equality both prior to and after the abolishment of slavery.  Moreover, we will examine how black writers circumvented publishing constraints, and specifically, how black women writers such as Pauline Hopkins, Julia Collins, and Frances E.W. Harper often used black journals including the Colored American Magazine and the Christian Recorder to publish their novels serially.  Why was serial publication an attractive outlet for these writers?  Did their “controversial” subject matter—i.e., “illicit” interracial marriage/sex/friendship and interracial violence necessitate alternative publishing venues? Our reading list will include a mix of non-canonical, underappreciated, and recently rediscovered literary texts (primarily by women) including Frank. J Webb’s The Garies and their Friends (1857), Harriet E. Wilson’s Our Nig (1859), Julia Collins’s The Curse of Caste; or the Slave Bride (1865), Frances E. W. Harper’s Minnie’s Sacrifice, Sowing and Reaping, and Trial and Triumph:  Three Rediscovered Novels (1869-1889), Pauline Hopkins’s Contending Forces (1900), Nella Larsen’s Quicksand (1928), George Schuyler’s Black No More (1931), and Dorothy West’s The Living is Easy (1948).

Requirements:  Weekly response papers, 15-page analytical essay, Literary Recovery class presentation 

ENG 700-001 and 002  Tutorial for Ph.D. Candidates

M 3:00-5:30

Trask, M.

This class is aimed at helping doctoral students who have completed their course work hone their professional skills, prepare for exams, and shape their dissertation topic. Our primary topic will be the nature of argument in cultural criticism. Each member of the class will choose a critical text pertinent to his or her prospective field of specialization and present that text to the class as a critical model to follow, refute, or otherwise engage in the practice of literary-critical method.  Our goal will be to arrive at a checklist of what does and does not “count” as successful argumentation in contemporary humanism.  There is no fixed syllabus, since participants will elect the texts they want to share in consultation with the course leader during the first week of class.

ENG 722-001  Seminar in Renaissance Studies: Shakespeare’s Rome

TR 2:00-3:15

MacDonald, J.

ENG 771-401  Seminar in Special Topics: Cultural Studies

T 6:00-8:30

Nadel, A.

This course will study the informing assumptions and methodologies for approaching literary studies in a cultural context and for understanding cultural phenomena by applying the same level of scrutiny that has traditionally been reserved for literary texts.  One of our chief goals will be to see how, to quote Roland Barthes, “History and Nature [are] confused at every turn.” We will look at how cultural narratives operate to construct a culture’s privileged assumptions and how, comparably, those privileged assumptions produce cultural artifacts. Readings will include work by Barthes, Foucault, Derrida, Michel de Certeau, and Stuart Hall, among others. A substantial research paper will be required along with a few short (1000-word) assignments.