Different semesters bring different class offerings. Course titles link to expanded descriptions on this page that are written by faculty and more detailed than those in the Undergraduate Catalog. General descriptions of all English courses are in the Undergraduate Catalog.
ENG 205: World Literature
ENG 206: Reading Literature
ENG 213: Introduction to Digital Literacies
ENG 214: Introduction to Literature and Gender
ENG 216: Introduction to AmericanEthnic Literature
ENG 220: Language and Society
ENG 230: Reading and Writing aboutLiterature
ENG 231: Professional Writing
ENG 240: American Literature 1: TheBeginnings to 1860
ENG 260: British Literature 1: TheBeginnings to 1780
ENG 285: Introduction to CreativeWriting
ENG 306: Creative Nonfiction Writing
ENG 307: Fiction Writing
ENG 308: Poetry Writing
ENG 310: Screenwriting
ENG 320: Introduction to LinguisticScience
ENG 321: English Linguistics
ENG 323: Discourse Structure andStrategies
ENG 347: Twentieth-Century AmericanLiterature
ENG 350: Teaching Writing in SecondarySchools
ENG 351: Contemporary American Literature
ENG 363: Renaissance andSeventeenth-Century British Literature
ENG 367: Contemporary BritishLiterature
ENG 389:Practicum in Peer Tutoring inWriting
ENG 395: Teaching Literature andLanguage in Secondary Schools
ENG 405: Special Topics in CreativeWriting
ENG 406: Advanced Creative Writing
ENG 407: Advanced Fiction Writing
ENG 408: Advanced Poetry Writing
ENG 409: Creative Writing in theCommunity
ENG 410: Advanced Screenwriting
ENG 414: Young Adult Literature
ENG 423: Studies in Drama
ENG 425: Film Studies
ENG 431: Rhetoric, Writing, and EmergingMedia
ENG 438: TESOL Curriculum Development and Assessment
ENG 444: Senior Seminar
ENG 457: Practicum in Teaching Englishto Speakers of Other Languages
ENG 489: Practicum in Literary Editingand Publishing
ENG 491: Literature of African-AmericanTraditions
ENG 492: Native American Literature
class will introduce you to a diverse body of literature from several former
British and French colonies of Africa, the Caribbean, and South Asia. We will
explore the experience of colonization—and the ensuing struggles to construct
individual, national, and transnational post-colonial identities. Along with
addressing the questions of language, history, exile, migration, gender, and
race so central to the developing world, we will discuss the continuing use of
the term “post-colonial”. One of the themes we will return to often will be the
concept of magic realism, and how it is used by writers from other parts of the
world to reflect the complexity of their history and culture.
participation will be an important part of the course grade; assignments will
include one essay, a presentation, and a midterm and final exam. The course
will be held in an Interactive Learning Space classroom, an active learning
environment infused with technology and mobility.
Professor: Kristine Kotecki
The post-apocalyptic wasteland is not a new setting for imaginative works, but it is currently a popular one. From zombie apocalypses to eco-disasters to the alienating triumph of corporate power, disaster is a hot topic. What role do such fictions play in our world? Are they escapist fantasies that distract us from real problems? Inoculations that normalize the terror for us and make us blind to its encroachment? What destructive patterns and structures do they recognize? What longings for change to they articulate? In this introductory literature class, you will read and write about works by Nnedi Okorafor, Junot Diaz, Derek Walcott, Octavia Butler, Toni Morrison, Miroslav Prstojevic, and others that contemplate society’s downfall in order to reflect on the ways that it is already broken. You will learn different uses and connotations of the terms utopia, dystopia, and apocalypse with an eye towards critical reflections on representations of race, sexuality, corporate culture and globalization. You will develop reading strategies and interpretive approaches to the texts themselves and you will contribute to the conversations about literature and society that have arisen around these texts.
As part of the core curriculum, this course is designed to teach you to do the following:
· identify the various elements and components of a literary text.
· identify the importance of contextual materials in determining the meaning of the primary text.
· recognize that the meaning of a text can shift when its details are analyzed in different ways or when it is read against various historical, authorial, generic, and theoretical contexts.
· use their close reading and analytical skills to write persuasive interpretations of literature and relate their own ideas about the text to others’ interpretations.
· apply various contextual and theoretical materials when constructing their own interpretation of a primary text.
· explain in an essay exam the basic concepts and tools of literary interpretation.
This class satisfies the Tier I (Humanities and Fine Arts) requirement
for the University Core Curriculum program and is designed to help you become more confident readers. We
will focus on the theme “diversity in literature” and explore short stories and
novels, poetry, and creative non-fiction written by American diaspora authors,
primarily of Middle Eastern and South Asian origins. Texts may include The Kite Runner by Khaled Hosseini, The Girl in the Tangerine Scarf by Mohja
Kahf, a collection of short stories Story-Wallah,
and a collection of folk poetry I Am
the Beggar of the World.
We will learn about the various elements
that shape the way we read texts - structure, narrative voice, character
development, novelistic experimentation, historical and political contexts, and
reader response. Since much of our critical thinking happens while we share
ideas with one another, this class is structured as a series of interactive
workshops and discussions. Ultimately we will learn not only about the
diversity of the “other,” but also about the diversity among ourselves.
Please contact the Professor for more information
about the course.
Professor: Rory Lee
commonly define literacy as the mere ability to read and write, but such a
definition ignores the contexts in which and the reasons why we read and write
as well as the changing ways in which we now read and write online. This course will broaden your understanding
of literacy by asking you to engage with not only the idea of literacy as a
situated act of knowing and doing inextricably linked to technology(ies) but
also the idea of literacies—plural. In
so doing, you’ll also explore what literacy means and looks like in the context
of the digital. Phrased as a
question: what sort of literacy
practices do we enact in the digital realm and how, if at all, are they similar
to, different from, and filtered through ones we enact in analog culture?
assist you in this exploration of digital ways of knowing and doing, you’ll
work with (and against) various frameworks for understanding literate acts; in
addition, you’ll be introduced to a brief history and some select theories of
media, the genres common to them, and the connections between media, old and
new. In an effort to expand your own
digital literacy, you’ll use various media, technologies, and composing tools
to create a diverse set of digital texts for external real-world
audiences. Along the way, you’ll employ
various digital practices such as content and interface design, remediation and
remix, and researching in a publish-then-filter economy.
the course, you’ll grapple with the personal,
social, educational, political, economic, and ethical consequences of these (often emerging) digital literacy
practices. In particular, you’ll take up
the following questions (and more):
● how does literacy shape—and how is it
● how is literacy both descriptive and
● how are literacies situated
● what is the relationship between
literacy and cognition?
● how does access impact and affect
literacy acquisition and instruction?
● how does our culture digitally make
sense of and comment on culture writ large?
● how does the digital allow latent
groups to form and act in ways they couldn’t previously?
● what happens when the grassroots
culture fostered through digital literacy practices intersects with corporate
● what habits have you developed as a
result of your access to digital technologies?
ground and frame our work this semester, we’ll move across three units:
1: Literacy, Literacies, and the Digital
2: The Evolution and Intersection of Media,
Communication Technologies, and Texts
3: The Social and Personal Implications of
Emerging Digital Literacy Practices
Eva Grouling Snider
course explores what it means to be a digitally
literate communicator in the 21st century. In the course, you will examine your own digital literacies,
looking at how you have developed digital literacies in the past and how you
continue to do so in the present. You will also seek to expand your own digital literacies, learning a new digital literacy and teaching it to other students, as well.
much of the course asks you to look inward
to your own digital literacies, you will also look outward to the digital literacies of others. We will read about and
discuss theories of digital literacies and consider what makes one “digitally
literate.” We will explore key terms and concepts in digital literacies and
work to expand your critical understanding of how communication technologies
function in the world.
course, designed for non-English majors, will explore representations of gender
in literature and study how to read literature using gender as an analytical
lens. For this particular section, we will study texts that include
descriptions or discussions of food and/or hunger. Women’s role in the family
has traditionally included food gathering and preparation of meals for their
families, so some of the texts we read will examine this role and the place of
food in women’s lives. On the other hand, women experience hunger or even
self-imposed food restriction in a gendered way, as some of the works we read
will explore. In this class, you should expect to read texts from several world
cultures that include portrayals of hunger strikers, talented chefs, enchanted
apples, and even women who bite. Course requirements include several shorter
papers, a presentation, and a creative reinterpretation project.
course, designed for non-majors, will be a survey of 20th and 21st
century Chicana/o literature—that is, literature written by Mexican American
authors. Though Chicana/o literature has a long history dating back to the 19th
century, we will focus on texts written in the 20th and 21st
centuries in order to consider how authors are inspired by and respond to the
contemporary issues that Mexican Americans face today. We will examine novels,
short stories, poetry, nonfiction and film.
ENG 220: Language and Society
2: Tuesday and Thursday 12:30-1:45 PM
course will provide students with a basic set of critical methods for
interpreting, discussing and writing about literature. Students will develop
skill in articulating claims based on closely reading texts, engaging with
bodies of critical work written about the texts under study and positioning
their own claims in relationship the claims of other literary scholars. They
will also learn to use various theoretical lenses, such as New Historicist,
feminist, and Marxist criticism, to develop understandings of texts. The course
will include poetry, short fiction, and drama. Students will also read a
novella, Nella Larsen’s Passing, and
literary scholarship on the texts that are included in the course. Students
will compose up to three short essays as well as a longer researched paper.
Evaluation will also include reading quizzes and smaller homework assignments
designed to help students develop the skills that they will need to enter into
meaningful discussion about literary texts and write successful literary
this course, we will explore literary engagements with contemporary American
culture, including music, sports, news events, as well as discourses of race,
gender, class, and sexuality. Examining a broad spectrum of genres—prose,
poetry, drama, and film—we will consider the ways in which literary texts both
reproduce and reimagine cultural phenomena. As we engage with this
interdisciplinary material, students will hone their analytical reading and
discussion skills, while building their knowledge of the formal conventions of
written literary analyses, including research ethics and citation guidelines.
Students will also become familiar with a variety of different theoretical
perspectives. By the semester’s end, students will have produced a body of
work—both oral and written—that expresses their own critical voices as readers,
writers, and cultural critics.
course will provide students with an introductory set of critical methods for
reading, interpreting, and writing critically about literature. Interrogating
the relationship between theory and practice, we will write to investigate
approaches to criticism, issues of form, and theory. We will explore the role
of rhetorical analysis and archival research in literary scholarship. With the
big picture always in mind, we will examine the dialogue between primary and
secondary texts in relation to their audiences and purposes. The texts will have many overlapping
issues, which we will use to assess how the issues change across form, approach
and context. Texts may include Lorraine Hansberry’s A Raisin in the Sun, Sherwood Anderson’s Winesburg Ohio, Allison
Bechdel’s Fun Home, poetry, and a
variety of secondary criticism about each primary text. Evaluation will include
three short papers, quizzes and a longer comparative final paper.
a student, you write. A lot. And that’s not taking into consideration all
of the personal writing you do outside of class, a majority of which is
composed through the use of digital technologies. However, much of the writing you’re required
to do and do voluntary doesn’t resemble the writing you’ll be asked to produce
in the workplace. As such, this course
focuses on the writing produced in the professions.
exploring professional writing, you’ll learn what it means to write for and
with others as well as how to design and create content for complex
environments. More specifically, you’ll
analyze and write in the print and digital genres common to the professional
sphere. Such genres include, but are not
limited to, memos, proposals, emails, surveys, reports, infographics, formal
presentations, and (viral) marketing campaigns.
In examining and working within these genres, you’ll pay particular
attention to the way they serve specific purposes, address and fulfill audience
expectations, communicate information both alphabetically and visually, and
function as responses to rhetorical situations common to workplace
Professor: Rory Lee
purpose of this course is to expose
English majors and minors to some of the most important works, writers, and
movements in American literature up to the Civil War. Though I realize that you will be reading
some of these authors for the first time, the class is not designed as an
introduction to literary analysis. I
expect you to read all of the material carefully, thoughtfully, and with an
open mind. By the end of the semester we will all know the works better--and, I
hope, we will have had some fun understanding the best that early American
assignments in the class are
● a midterm examination, part short-answer, part
● a critical research report on a text of your
choice from the syllabus. This report will be presented to the class on the day
we discuss the text you've selected,
● a final examination, part short-answer,
● class participation and preparation,
including performance on frequent, unannounced quizzes over the reading.
Each of the above will count for 25% of your final
Please contact me at firstname.lastname@example.org.
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focus in this course will be literature written in English before 1780. We will
look at a wide range of texts by various authors as we explore the constantly
changing English language and the emergence of key literary genres. As we
engage with the language and form of these texts, we will also explore the ways
the authors respond to changing circumstances and new ideas. We will consider,
for example, the effects of technology such as the printing press, the impact
of Bible translation and nationalism on the rising prestige of English, and
expanding forms of self- expression. While rooted in Great Britain, this course
will consider England's relationship to other traditions at home and
abroad. We will pay particular attention
to Colonial America as a new site of English literary production and
consumption in the period. As you
explore the multiple aspects of these texts, you will build your skills as readers
of poetry, drama, and prose; as writers; and as researchers.
Professor: Jeff Frawley
Section 4: Monday, Wednesday, Friday 12:00-12:50 PM
Section 5: Monday, Wednesday, Friday 1:00-1:50 PM
Professor: Peter Davis
Section 6: Monday, Wednesday, Friday 2:00-2:50 PM
Professor: Craig O’Hara
Section 7: Monday, Wednesday, Friday 3:00-3:50 PM
Professor: Emily Scalzo
Section 8: Monday, Wednesday 6:30-7:45 PM
Professor: Brian Morrison
Section 9: Tuesday and Thursday 9:30-10:45 PM
Professor: Angela Jackson Brown
Section 10: Tuesday and Thursday 11:00 AM-12:15 PM
Section 11: Tuesday and Thursday 2:00-3:15 PM
Professor: Peter Bethanis
Section 12: Tuesday and Thursday 3:30-4:45 PM
contact the Professor for more information about the course.
word essay comes from the French verb “essayer”—to try. This class will focus on personal essays,
which are our attempts to understand something: how a significant event in
childhood impacted us, how we came around to a particular way of thinking, or what
a series of seemingly unconnected events might mean when put into context. We will focus on the questions—what the
questions mean, how to ask better ones, and the various ways we might attempt
to answer them—rather than the answers themselves. You will read a great deal of published
creative nonfiction (including work by writers like Joan Didion, James Baldwin,
Cheryl Strayed, and Eula Biss), identify the purpose of/practice using various
craft techniques through in-class and out-of-class writing exercises, and then
explore your own burning questions in essay drafts that you will share in both
small group peer review and full class workshops. Required texts will include Bill Roorbach’s Writing Life Stories and Sarah
Einstein’s Mot: A Memoir (a possible
third text is TBD).
ENG 307: Fiction Writing
1: Monday, Wednesday, Friday 12:00-12:50 PM
course centers on the fundamentals of writing the literary short story—vivid
concrete language, three-dimensional characters, complex plot—with an emphasis
on the student’s ability to write clearly and dramatically. The focus of this
course will be the writing workshop and the extensive revision that all writers
employ to develop their work into polished pieces. The course also includes
discussion of, and hands-on practice with, elements of the craft and in-depth
class discussions of the techniques employed by authors recognized in the
addition to the writing workshop, assignments include short developmental pieces
and critical reading responses to contemporary works of fiction. At the end of
the semester students will turn in a portfolio of revised stories and a
submission of work to a literary magazine.
Burroway’s Writing Fiction, including
contemporary works of short fiction by writers such as Junot Diaz, Denis
Johnson, and Lorrie Moore.
The course is designed to take students (and your professor)
further into the art and craft of fiction than can be covered in a creative
writing overview course. It raises questions about the value of fiction, what
makes fiction good, successful, outstanding and beautiful, and how to workshop
and Re-Vision your fiction. The course is also designed for those who wish to
develop a writing routine on their own, as well as those who plan to continue
the study of fiction in ENG 407 or some other upper level fiction writing class
Burroway’s Writing Fiction
This course will offer an overview of poetic
forms. While students often shy away
from working with received forms, in this class we will proceed with the
understanding that working with poetic form invites us to give over control,
open our imaginations, and engage with the long line of poets who have both
adopted and reinvented traditional poetic forms. By the end of this course, you will gain a
repertoire of new rhythms, a storehouse of rhymes, and a facility with forms
and structures. You will learn tools for
starting poems, tools for shaping poems, and tools for stealing the best
writing tricks from other writers. You
will also encounter poems that stir the blood, and lines you will remember for
the rest of your life. We’ll be using An Exaltation of Forms as our primary
textbook, and our assignments will be based on the forms poets discuss in these
essays. You will gain a basic
introduction to prosody. By the end of
the course, you’ll know about poetic forms such as the terza rima, the
quatrain, the villanelle, the pantoum, the sestina, and hip-hop. You’ll have a sense of how these forms
interact with each other, and you’ll have completed at least six formal
exercises in response to these traditions.
In general, you will begin to know the rules of poetry so well, that you
will also know when and how to break them.
Section 2: Tuesday and Thursday 8:00-9:15 AM
Section 3: Monday, Wednesday, Friday 11:00-11:50 AM
Section 4: Monday, Wednesday, Friday 10:00-10:50 AM
to screenwriting for film, television, or new media, emphasizing the elements
of visual storytelling with practice in writing and critique.
aim of this linguistics course is to raise your awareness of the complex
organization and systematic nature of language, the primary means of human
communication. In a sense, you will be
studying yourself since you are a prime example of a language user. Most of your knowledge of language, however,
is unconscious, and the part of language that you can describe is largely the
result of your earlier education, which may have provided you with confusing or
misleading notions about language. This
course is intended to clarify your ideas about language and bring you to a
better understanding of its nature by introducing you to the basic principles
of linguistic science and the major areas of the field, including, but not
limited to, phonetics, phonology, morphology, syntax, semantics, pragmatics,
sociolinguistics and psycholinguistics.
This is not a course about just one particular language, but about human
language in all its aspects. Some of the
data to be analyzed will come from languages with which students are familiar,
but students will also work with data from languages with which they have no
goal of this course is to provide an overview of systematic methods of studying
language and to increase students' awareness of normal human language, its
social significance, how it works, and how complex and diverse it is.
Professor: Mai Kuha
The goal of this course is to give
students an informed perspective on English sentence structure, leading to an
understanding of basic grammatical structure, relationship, and terminology. We
also consider sentence structure in the context of discourse.
English majors and minors are
considered by the public to be experts about their language and are therefore
expected to know the basic concepts and terminology of English sentence
structure. Non-English majors benefit from the course in that the study of
English sentence structure helps them understand how languages are structured.
The goal of this course is to give
students an informed perspective on English sentence structure, leading to an
understanding of basic grammatical structure, relationship, and terminology. We
also consider sentence structure in the context of discourse.
(including both spoken and written language) is present in our lives in almost
every moment, and we routinely make sense of it. As linguist Barbara Johnstone
notes, simply paraphrasing the meaning of what we hear or read is a kind of
informal discourse analysis.
this course, we take a more systematic approach to describing the intentions,
effects, and contexts of discourse, as well as its linguistic and rhetorical
features. Students will learn to analyze the manipulation of these features in
oral and written genres, which may include political campaign ads, various
types of social media, and autotune remixes. We will study aspects of language
such as differences in pronunciation, word choice, syntactic structure,
strategies of cohesion, conversational norms, and narrative styles. This
analysis deepens our understanding of how people construct their identities or
persuade others to do something for them – and, ultimately (in Noah Sobe’s
words), “how power, privilege and opportunity are enabled and disabled” through
will discover discourse functions via first-hand data analysis. The textbook is
Discourse analysis: Putting our worlds
into words (Strauss & Feiz).
Coffee in Deux Magot?
Walking on the Champs Élysées in the evening? Quaffing ale within the sound of Big
Ben? Rowing on the Thames? If you’ve ever dreamed of any of these
things, or if you saw Midnight in Paris
and wished you were Gil in the back of that old Citroen, this class is all
about you. We’ll be looking at
expatriate life in London and Paris between the World Wars, incorporating
literature, art, material culture, fashion, retail, dance, theatre, film of the
period. Writers covered will include T.
S. Eliot, Ezra Pound, Ernest Hemingway, Gertrude Stein, F. Scott Fitzgerald,
Kay Boyle, E. E. Cummings, and maybe a few who have escaped the anthologies
Assignments are going to include the obligatory
literary research paper but also some creative approaches to understanding the
context of these works, including a “drop down” in Google Earth assignment that
will invite you to “walk around” present day Paris or London and find something
you wish to investigate further.
The aim of this course is to richly imagine London and
Paris between 1911 and 1945 (from the Roaring Twenties to the roaring fires of
the London Blitzkreig), two of the liveliest and most threatened civic centers
on the globe during that time. You’re
going to get a better ride through Europe than Gil ever imagined because this
is daytime in London and Paris.
Additionally, there will be a few slots open for
interested students to travel to London and Paris in May 2016 to experience it
all first hand as soon as spring semester ends.
This course is not open to students enrolled in HONR
390 during spring 2016.
Our exploration of contemporary American literature will be
framed around the concept of margins and centers, and the liminal spaces that
lie in between. How does American literature track issues of cultural
belonging, assimilation, and marginalization? In what ways do contemporary
writers reconfigure traditional understandings of race, class, gender, and
sexual orientation and, by extension, American identity itself? Drawing on a
range of prose, poetry, drama, and theoretical perspectives, these are the central
questions this course will pursue. Likely texts in this course will be Ralph
Ellison’s Invisible Man (1952), Allen
Ginsberg’s Howl (1956), Fran Ross’s Oreo (1974), Leslie Marmon Silko’s Ceremony
(1977), Suzan-Lori Parks’s Topdog/Underdog (2002), Junot Diaz’s The Brief and Wondrous Life of Oscar Wao (2007),
and Natasha Trethewey’s Thrall
(2012). In addition to actively participating in class, students in this course
will deliver an oral presentation; write informal digital responses that will
build up to formal essays; and complete a final research project.
Renaissance was a time of exploration and an age of discovery. As European
explorers began to navigate new lands and encounter new peoples, writers began
to fold these “exotic” experiences into literary texts. They narrated real
travel experiences and created fantastical landscapes that reflected social and
political dreams of a rapidly changing world as they ventured to guess what
might await us at the edges of the map. We will begin this course by reading
one of the most famous new world creations, Thomas More’s Utopia (1516). More coined the term “utopia” from Greek roots that
translate to both “good land” and “no-place land”, at once summoning to mind an
ideal and its impossibility. Using More’s world as our frame, we will read
authors including but not limited to Francis Bacon, William Shakespeare, Edmund
Spenser, Michele de Montaigne, Margaret Cavendish, and Aphra Behn, as they
explore fantastical lands and encounters with monsters, cannibals, Amazons, and
more. Throughout the course, we will also consider the legacies of Renaissance
Utopias in our own preoccupation with dystopian and apocalyptic landscapes and
futures. From movies such as Zombieland
and Mad Max: Fury Road to the 2014
reality television series Utopia, as
a culture, we are still clearly seeking the elusive “good land”.
America today, British culture is (like bow ties) cool. Though the “cool
Brittannia” era of the 1990’s is past, British pop culture seems to be more
popular in America today than at any time since the Beatles. Americans now have
easy access to British TV shows like Dr.
Who, along with American remakes of such British originals as The Office and House of Cards; popular British authors like J.K. Rowling and Neil
Gaiman; and films starring British actors, like The Lord of Rings and The
Woman in White. And, of course, British bands have influenced American
music for decades, with classic acts like Queen, The Who, and The Rolling
Stones. You can even buy British foods, such as Jaffa Cakes and Branston
Pickle, at Meijer!
what’s behind the pop culture that American Anglophiles love to consume? The
years since World War II have seen a lot of cultural changes in the British
Isles, and contemporary British literature and popular culture both reflect
differing attempts to grapple with these changes and to redefine who the
British are, as a nation and as individuals. In this class, we will examine those
attempts to understand British identity and history represented within
contemporary British writings.
works for study include: fiction, long and short, by Neil Gaiman, Pat Barker,
Mark Haddon, George Orwell, Zadie Smith, Faye Weldon, Irving Welsh, Salman
Rushdie, and Doris Lessing; plays by
Tom Stoppard, Harold Pinter, Caryl
Churchill, and Brian Friel; poems by Stevie Smith, Carol Anne Duffy, Louise
Bennett, A.K. Ramanujan, Grace Nichols, Seamus Heaney, M. Nourbese Philip, and
Eavan Boland; a film or television episode and a graphic novel. Course
requirements will include papers, exams, presentations and participation in
discussion, both in class and on-line.
Jackie Grutsch McKinney
course explores the theories and practice of teaching writing and
multiliteracies in non-classroom settings through classroom discussion of
writing theories and writing center pedagogies and 20-hours of field experience
in the writing center or similar setting. After completing ENG 389, students
will be able to understand history of writing centers in k-college and
community settings; describe various theoretical and pedagogical approaches to
writing center work; and conduct research appropriate for writing center
lot has happened to you. In this course, we will explore memoir in verse,
creating poems that tell your story and, perhaps, the stories of others. Using
various research techniques pulled from creative nonfiction, you will identify
significant moments in your life, exploring how narrative works in poems as you
translate your life to the page: what should you tell and how should you tell
it? We will use poems and flash nonfiction as models to discover the many
poetic forms and devices we can use to tell our stories, and turn to Robert
Bly’s book Leaping Poetry to help us explore associative leaps. Throughout the
course, you will keep a research journal, build an anthology, write original
poems, and workshop. By the end of the term, you will produce a chapbook—a memoir in verse—that presents a
term “chapbook” grew from English “chapmen,” peddlers who sold inexpensive
pamphlets throughout the late 1500s up until the mid-1800s. These pamphlets
were cheaply produced and affordable for the masses. Today, a chapbook is a
short collection of poetry (and sometimes prose) composed of 16 – 25 pages.
Typically the poems are linked by a clear theme, though this is not always the
case. In this course, you will write, design, and create a chapbook of your
own. Since these are often thought of as “a foot in the door” for a full-length
collection, you will read several collections of poetry, as well. Prose writers
interested in flash fiction and micro-essays are welcome.
by the insightful, brick-by-brick essay about essays co-written by Ana Maria
Spagna and Steve Harvey in the September 2015 issue of Assay: A Journal of Nonfiction Studies, this advanced creative
nonfiction class will focus on the art of transforming lived experience and the
observable world into essays. Using our own lives and perceptive faculties as
the lens through which we record the world, we’ll start by writing our
memories—looking inward to reach outward—but we’ll also expand our scope to
write about things beyond the self:
other people, other creatures, other places, and other ways of living in
the world. We’ll work on the nuts and bolts of the writing (as well as the
lumber and the sheets of tin and the panes of glass. . .), considering the
essay in parts: the beginning and the end, full-blown scenes
and elliptical reflections, white space and titles, allusions and dialogue, and
of course, the echoes, patterns, and the connections that lead us to new
meaning. As we read the brand-new Best
American Essays 2015, a freshly minted memoir by a special In Print Festival
guest, and many individual essays, we’ll think about what it means to write
something that matters, to write
something that feels really true—and
then we will practice.
requirements will include: quizzes,
regular writing exercises, reading responses, workshop critiques, a class
presentation, two long essays, and a final portfolio.
an essay is like catching a wave,” writes Ariel Levy, the guest editor of Best American Essays 2015. “To catch a wave, you need skill and nerve,
not just moving water.”
· Best American Essays
2015 (ed. Ariel Levy,
series ed. Robert Atwan)
· Mot: A Memoir by Sarah Einstein (U. Georgia Press,
2015)—an In Print Festival guest!
a large selection of must-read essays at the professor’s discretion
course will offer an intensive study of innovative short fiction. It will push students as readers and writers,
and will facilitate invention, students’ honing of craft, and the development
of unique fiction-writing styles. Each week
we will read short stories that challenge boundaries when it comes to storytelling
technique, subject material, style, and voice.
In addition to studying the mechanics of short fiction, we will
carefully consider how the micro (sentences, language choice, details,
paragraphing, scene writing) informs and transforms the macro (story shape,
theme, use of time, character development).
course will feature weekly production of new pages of fiction, critical
responses to short stories, regular small-group peer workshops, and full-class
workshops. The semester will culminate with
multiple revised stories presented in a portfolio.
will use an anthology featuring a diverse representation of contemporary short
fiction, The Scribner Anthology of
Contemporary Short Fiction, and a collection of essays on fiction-writing
craft, The Writer's Notebook.
those who have taken introductory creative writing workshops, much of this
course will be familiar. For instance,
we will still return to basic questions such as: What is poetry? How do we
shape poems out of our emotions, ideas, and experiences? What is the use of poetic devices such as
rhyme, meter, and figurative language?
We will also work with a combination of assignments and exercises, just
as you might have done in an introductory workshop. Two things in the advanced
workshop will be different. First, I
have chosen assignments that I believe are more challenging than those I give
to “intro” students. As I see it, being
a poet means mastering word work—to me, mastery comes from developing your ear
for rhyme and rhythm, building your vocabulary, and above all, from reading
other writers with great attention.
These assignments are designed to introduce you to a variety of trends
in contemporary poetry. We will also
trace these trends back to longstanding poetic traditions.
the first half of the semester, our assignments will correspond to class
readings (either from our textbook, or from any one of the contemporary
collections we will be reading together). For the second half of the semester,
you will have more autonomy, as you study the work of a model poet over the
course of several weeks. In this “poetry
apprenticeship,” you will engage in a deep dialogue with that poet, and immerse
yourself in his or her cadences and poetry techniques. Students will write several response papers,
offer thorough critiques on the work of their peers, and submit a portfolio of
poems this semester. Students will also give a presentation in which they
introduce the work of their model poet to the class.
Topic: “Claustrophilia”: Closet Drama/Drama of the
today's media-saturated society where nearly everything is staged for public
consumption, we may see little connection to nor understand the power of closet
drama, that is, plays not meant for performance on the public stage. This genre
seems to move inward and threatens to be claustrophobic. However, it is our
very desire to open up such spaces that, in fact, gives them greater
importance. The closet must exist in order for us to peek inside and disclose
its secrets. This voyeuristic impetus is the foundation of contemporary reality
television with shows that invite us into people's homes or allow us to witness
enclosed social experiments. We see this in shows such as Big Brother and Keeping up
with the Kardashians where we are privy to the "private"
negotiations of people's "everyday" lives—the more intimate and
salacious, the better. Even our television dramas cater to our desires for an
inside look at highly specialized professions—think Code Black, House of Cards,
this course we will explore the etymology of the closet, as well as its close
relatives, and the way these spaces have been dramatized in different moments.
We will think about the original parameters of such spaces often initially
purposed for close council as we see in discussion of kings' toilets—inner
chambers for conducting court business—and the way these spaces have come to be
seen as more private spaces for individual retreat. We will question the
benefits of the closet as well as potential dangers and fears associated with this
space—especially given the very issues surrounding politics, gender, race, and
sexuality that are still associated with the secrecy and titillation of such
enclosures. As we read the course texts, we will interrogate the way we define
dramatic form against our conceptions of the "dramatic" as we move
from Renaissance and English Civil War dramas and dialogues to more
contemporary British and American dramatic works including Angels in America.
course teaches students to analyze films critically. We’ll examine how formal elements such as
mise-en-scene, cinematography, editing, and sound work together to produce
meaning. We’ll explore topics such as film narrative, genre, ideology, and
stardom, as well as different kinds of films, including fiction, documentary,
and experimental films. We’ll consider
how films affect us personally and how they function socially. The course’s main goal is to make the
invisible visible, to enable us to see and think about things we may not have
noticed in movies before. In addition, the course will expose students to a
variety of great films in different styles and genres, hopefully broadening
your appreciation for film. Course assignments include response papers, short
analytic papers, a sequence-analysis and film interpretation essay, quizzes,
and an exam.
Eva Grouling Snider
In this course, we will explore writing with regards to perhaps the
most important “emerging media” out
there: the web. We will discuss what
web writing looks like, how it differs from other types of writing, and what
that means for professional writers today. You will complete several web
writing projects, culminating in a significant web writing project: a professional online portfolio that you
can use in your future life as a professional writer. Concepts covered in this
course include web design, copywriting,
endpapers, folios, plates, fonts, covers, bindings, edge painting. If you like the texture of paper, the crack
of a binding, the leather on a spine, even the smell of an old book, this will
be one of your favorite classes in college:
Book Binding Essentials and Autobiography.
course offers hands-on experience binding hand-made books using various sewing
methods including casebook stitching, tacket binding, coptic stitching, Secret
Belgian binding, and others. Everyone
will make a small edition of four copies of his/her own book as well as a
number of blank journals for practice.
Students in this capstone course will be examining
various approaches to archival research as well as autobiographical and memoir writing. Every student in this course will write an
autobiography or memoir, hand bound in a style that is germane to its
contents. Both parts of the project
(writing and binding) will be broken down into simple steps that make this
At the conclusion of the course, we will hold a blank
journal sale to recoup materials costs.
We’ll also each contribute a hand-bound copy of our autobiographies to
Special Collections in Bracken Library, where we’ll be listed in Card Cat.
course marries the literary and book arts in a unique way. No creative writing or artistic experience is
in this course contribute to and help produce issue #3 of The Digital Literature Review: Freak Shows and Human Zoos. This is
a continuing course from Fall 2015, and space for new students is limited. If
you are interested in joining us at this point, please contact Dr. Joyce
Huff at email@example.com.
this intensive senior seminar, students will investigate the ideas and products
of Romanticism, concentrating primarily on its expression in nineteenth-century
American and British literature but with some attention to its global
manifestations in the visual arts, in music, in philosophy and social thought,
and in material and popular culture. We
will read a generous selection of Romantic fiction and poetry, explore the
world of the Romantic artists, see how Romanticism affected politics, social
reform, and the arts, and examine the legacy of Romanticism today, from
romantic comedies through “romance novels.”
As its second goal, this course will give you the
opportunity to practice and refine the skills of advanced English majors. Just
what do English majors do? Among other things, they teach; they interpret
texts; they do scholarly research; they evaluate literary merit; and they write
creatively. English 444 will allow you to employ your skills and focus on the
area of English that interests you the most.
finally, we will try to make connections between your life, your world, and the
lives of the Romantics, our goal being to understand not just the past but its
addition to class participation, attendance, and completion of all readings,
assignments will include student presentations, two examinations, and a final
Questions? Please contact me at firstname.lastname@example.org.
aim of this course is two-fold: 1) to
provide students with at least 45 hours of direct teaching experience with
English language learners and 2) to provide students an opportunity to reflect
on and demonstrate the ways that they are meeting and/or exceeding each of the
11 TESOL standards for PK-12 teacher candidates. To achieve these goals, students build on
their experiences in ENG 436 and ENG 437 and work directly with English
language learners in both pull-out and push-in classroom situations at the
elementary and/or secondary levels.
is the second of the two-semester ENG 489 sequence; students must enroll in both the fall and spring semesters. We
will begin by the semester by finishing production of The Broken Plate’s 2016 issue and then shift our attention toward
professionalization. Students will
produce original artifacts for professional portfolios (cover designs, typeset
book/magazine pages, book reviews, and/or their own stories, essays, and poems,
as well as resumes/CVs, job cover letters, statements of purpose, etc.) and
consider their next steps as both writers and editors. Required texts will include Sarah Einstein’s Mot: A Memoir, Gabriel Urza’s All That Followed, and Sarah Blake’s Mr. West.
This introduction to African American literature will
move chronologically from the late eighteenth century into the contemporary
era, and will explore a wide range of African American authors, including
Phillis Wheatley, Frederick Douglass, Langston Hughes, Helene Johnson, Ralph
Ellison, Amiri Baraka, Toni Morrison, and Harryette Mullen. Framed around the
musical trope of call and response, we will be exploring three central
questions: How do African American writers respond to the calls of slave
spirituals and, later, blues, jazz, and hip hop artists? How do writers call
and respond to each other, across decades and even centuries?
what kinds of calls do African American writers issue to readers, and how do
they ask us to respond? Our exploration of these questions will be framed by
key theoretical essays in the field. We will also make use of the archives here
on campus, particularly the Black Muncie History Project (1924-1978), putting
literary works in dialogue with cultural materials from the local community.
Assignments will include an oral presentation (with a digital component); short
textual analyses that will build up to research papers; and a written final
author and scholar Louis Owens identifies the search for identity as a thematic
element easily found within many works of Native American Literature. To combat
a long history of displacement and myths that construct “real” Indians as
bygone figures located only in the past, contemporary Native American authors
have used a variety of tools to explore and construct their complex, varied
identities in their literatures. This course will introduce students to a
variety of 20th and 21st century Native American
literatures. We will examine novels, short stories, poetry, nonfiction, and
films, paying attention to how oral traditions, place, community, gender, and
humor inform and enrich these texts.
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