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Department of English Fall 2016 Courses

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CRN Course Title Days Begin End Instructor

81749 AML2010 American Literature I DL Jennifer Lieberman

This interactive online class will introduce students to the rich range of pre-Civil War American literature: from ghost stories to hot air balloon hoaxes, from tales of domestic drama to heart-rending stories of slaves escaping captivity, from the words of our great founding national documents to the pages of best-selling sentimental novels. Over the course of this semester, we will philosophize with Ralph Waldo Emerson and Margaret Fuller. We will relive the debates of the Federalists and Anti-Federalists and explore how women and Cherokee Indians took up the rhetoric of nation building to fight for their own rights. We will explore the amazing benefits and serious limitations of the industrial revolution, imagining how thrilling and potentially terrifying it would be to watch railroads spread like spiders' webs across the countryside. By the end of the semester, students will be able (1) to identify and analyze works that shaped our literary and national history. They will be able (2) to define and experiment with important genres of American literature. Most importantly, they will (3) explore what makes antebellum American history so distinctive and engrossing that it continues to capture our imagination today.

82154 AML2020 American Literature II T R 1340 1455 Bart Welling

80002 AML3041 Periods of Later Am Lit T R 1340 1455 Bart Welling

The field of ecocriticism, or environmental literary criticism, emerged in the 1990s in response to a pronounced lack of attention on the part of most literary scholars to issues upon which biologists, philosophers, historians, and members of other disciplines had been focusing for some time—issues ranging from the worldwide extinction crisis to global warming to the deliberate targeting of minority communities by governments and corporations looking for convenient places to locate undesirable production facilities and toxic waste dumps. Ecocritics (including me) continue to argue that studying the role of place, environmental crisis, nonhuman animals, (bio)regions, and related topics in literature can have a transformative impact on how we live, since literature is one of the most powerful art forms humans have developed for representing where we are—and for imagining alternatives to how we presently live in place. Rachel Carson’s Silent Spring (1962), which played a decisive role in the banning of DDT and helped give rise to the modern environmental movement, is one example of how literature really can change the world, and ecocritics have done much to illuminate how this kind of change can happen. This course aims to foster critical environmental thinking on your part by helping you build verbal and written ecocritical arguments about the role of place in the literature and culture of the U.S., and, conversely, about how American literature and culture have helped shape the places around us, from oceans, deserts, and the iconic wilderness areas of the West to city slums, Indian reservations, and long-forgotten New England villages. Instead of trying to convert you to environmentalism, my goal is to help you learn to think ecocritically about American places and American literature.

81854 AML3031 Periods of Early American Lit M W 1200 1315 Keith Cartwright

“Narratives of Captivity & Captivation.” This course will examine the role played by captivity and captivity narratives in American articulations with freedom. Freedom could only take on meaning in the face of its other: slavery, captivity, unfreedom. The British writer understood the ironies of Americans' revolutionary aspirations for freedom when he quipped, "how is it that we hear the

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loudest yelps for liberty among the drivers of Negroes?" This class will examine border histories and boundaries between ourselves and our others as we read the captivity narratives of colonial women and early Spanish explorers held by Indians, a number of slave narratives, narratives of captivity within a state of sin, poems positioning marriage as a captive state, revolutionary rhetoric regarding colonial status as captivity, and poets railing against the language's entrapment within convention. We will also read narratives of captivation: the sublime experience of encounter with the American wilderness or contact zone--particularly within Florida and the region of the Gulf of Mexico.

82857 AML3154 American Poetry M W 1500 1615 Clark Lunberry

“New York, New York ... A Hell of a Town! (The New York Schools of Poetry, Painting & Music).” In this class, we will be looking at the rich and varied cultural scene of New York City that emerged after WW II, when New York was to become (supplanting Paris…or so they say) the “artistic capital of the world.” To this day, the city remains a kind of magnet for poets and artists from all over the globe, as they come to participate in and be enlivened by the particular energies still to be found in America’s great metropolis. Our initial focus will be upon the first generation of “New York School Poets,” such as Frank O’Hara, John Ashbery, Kenneth Koch and Barbara Guest, while also looking at later groups of writers, the “second generation New York School,” such as Ron Padgett, Joe Brainard and Alice Notley. Along with these poets, though, we will also broaden our focus to include examples of New York School painters (Jackson Pollock, Mark Rothko and Willem De Kooning), as well as New York School composers (John Cage and Morton Feldman). New York was (and is) a rich interdisciplinary environment in which the poets influenced the painters, who influenced the composers, who influenced the poets…and on and on and on. We will do what we can to focus upon the city in all of its dynamic and interdisciplinary entanglements.

82858 AML4242 20th Century American Literature T R 1340 1455 Betsy Nies

The Gothic, Detective Fiction, and Science Fiction This course will explore the history of contemporary detective and science fiction, examining the ways the Gothic has historically informed these genres. Travelling back to Gothic beginnings, this course will unpack the ways that genres transform across time, supporting various ideological agendas unique to a particular historical moment. Students will write their own science fiction and detective pieces, integrating knowledge from the course, unpacking their own location in history as makers and producers of knowledge.

81158 CRW2000 Intro to Creative Writing T R 800 915 Fredrick Dale

In this course, students will read works from a variety of literary genres, produce samples of work in each genre, develop productive critiques of one anotherâ€™s work within a workshop setting, and revise at least one of their samples. This course is for students who want to develop basic skills in more than one genre of creative writing.

80989 CRW2100 Intro to Fiction Writing M 1800 2045 Mark Ari

What is creative writing in general and fiction in particular? What is a successful work of fiction? What are its elements? What leads us to determine some elements are necessary while others are less so? How do you recognize success in work you read or write? How do you compose work that is more successful? What other questions might we ask, and why do we ask any of them? This course addresses those issues, and you should keep them in mind as the semester progresses. You will spend a great deal of time out of class reading fiction and writing critiques, as well as revising your own fiction. All of this involves developing, sharpening, clarifying, and articulating your own vision of the human world. To make anything better, you first have to find where and how it can be


better. To get to that next level, you have to go right up the limit of what you can do and then take the step into what you can’t yet do. It’s the mistakes that let you know you’re there, and it’s the mistakes that afford you your best opportunities. Even if you are simply exploring creative writing, testing the water to see if this is a place you’d like to swim, then you are exploring yourself. And if you are already writer, this is a class devoted to helping you become more yourself. In either case, it’s an endeavor worth breaking your brains over. Experiment. Find something to laugh about, even or especially yourself. Bite the nail, open a vein, and tend to the work at hand.

81010 CRW2100 Intro to Fiction Writing T R 1630 1745 Marcus Pactor

81159 CRW2100 Intro to Fiction Writing T R 1340 1455 Marcus Pactor

This course will help beginning fiction writers compose stories. We will discuss your work in a supportive workshop environment, where you will get valuable feedback from both your peers and your instructor. We will complete various exercises to help us tap and expand our imaginations. We will read a wide selection of very contemporary fiction, which will help us see new possibilities to try out in our work.

81199 CRW2100 Intro to Fiction Writing F 1200 1445 TBA

In this course, students will study the basic techniques used by both canonical and contemporary fiction writers to build convincing and compelling worlds, characters, and plots. Students will then work to apply those techniques to their own fiction. They will develop the skills and techniques necessary for both a productive critique of their own and one another's fiction, and for the in-depth work of successful revision.

82155 CRW2201 Intro Creative Non-Fiction M W 1330 1445 Mark Ari

Creative Nonfiction is the fastest growing genre in creative writing programs across the country. This course introduces students to the imaginative possibilities of a genre that is factual but may be radically subjective. Its methods have the narrative, dramatic, meditative, and or lyrical elements of fiction, plays, and poetry. It can break the boundaries between genres. Any subject is open. Student reading and writing will explore a variety of approaches to this exciting genre. Students will learn to tap the reliable resources of imagination in the service of the real (whatever that may be). As well, they will learn to read like writers, developing the skills needed to assist their fellow authors and themselves in revision.

80990 CRW2300 Intro to Poetry Writing T R 925 1040 Fredrick Dale

This workshop allows students to explore together the fundamentals of the craft of poetry. Students will learn the difference between poetry and prose, as well as the ability to identify the attributes that make poetry a unique and expressive art form. Students will learn basic terminology and close reading skills in order to write analyses that demonstrate precision and sensitivity to the nuances of poetic language. Students will read and memorize poems by master poets, whose work will be the focus of our analysis. Learning to explicate great poetry will provide students with skills they can apply to their own poetry, which will be the ultimate focus of this course.

81388 CRW2600 Intro to Screenwriting M W 1630 1745 Stephan Boka

81390 CRW2600 Intro to Screenwriting M 1800 2045 Stephan Boka

This course covers the basics of the craft of screenwriting such as formatting, story structure, theme, character arc, and more. Students will pitch movie ideas, write a treatment, outline, and learn scene construction for a feature film. Students will be required to participate in screenwriting workshops to further develop their own work and apply what they've learned to the development of the work of their peers.


82156 CRW3610 Screenwriting Workshop MW 1330 1445 Stephan Boka

Screenwriting Workshop will break down the screenwriting process into a scene by scene, page by page, line by line analysis. Students are expected to write, read, and critique screenplays on a weekly basis in an effort to produce a polished screenplay by the end of the semester.

82860 CRW2930 Writing Graphic Literature T R 800 915 Russell Turney

Long dismissed as “simple” and “childish”, graphic literature (comics, graphic novels, etc.) has exploded in popularity: both in terms of sales and praise from critics. They have become the source material for very popular films, and innovative filmmakers acknowledge how graphic literature has shaped their work. Increasingly, in scholarly study, graphic literature is seen as a valid, complex art form. However, this course is not a history or survey of graphic novels or comics. First and foremost, this is a writing course, in which we will use reading representative graphic texts, creating original graphic texts of our own, and writing reflectively about both kinds of texts, to become stronger writers, readers, and thinkers.

80987 CRW3110 Fiction Workshop W 1800 2045 Mark Ari

Each of us, however long we’ve been writing, are wherever we are and hoping to get better. We are always, every one of us, beginners. In this workshop, we indulge our impulses to storytelling and fabrication. Maybe we do so in the service of some greater truth. Maybe we do it because we can build worlds and that’s an exciting thing to do. Maybe we do it because there is something in the human world that compels us to respond in this remarkable way we call fiction. I don’t know. You’ll have to tell me. And while we’re talking about it, we’ll tackle technical concerns and seek methods by which the reliable resources of imagination can be tapped in the service of our imaginations. We read and write fiction. We talk and write about the fiction written by others. We bite nails and open veins and tend to the work at hand. Experimentation is encouraged. Laughter is relished.

81541 CRW3110 Fiction Workshop T 1800 2045 Marcus Pactor

We will write short fiction in a way or in several ways that we have never written short fiction before. We will then share the results of our new writing with the class for public critique and encouragement. Along the way, we will study some of the diverse approaches to short fiction in contemporary literature.

81751 CRW3310 Poetry Workshop M W 1200 1315 Mary Baron

During the course of the semester, students will respond to different kinds of assignment prompts to develop their mastery of verbal craftsmanship. They will also read work by both active contemporary poets and canonical poets. Students will critique and discuss one another's work in a workshop setting in order to gain facility using language with precision.

82156 CRW3610 Screenwriting Wrkshp M W 1330 1445 Stephan Boka

Screenwriting Workshop will breakdown the screenwriting process into a scene by scene, page by page, line by line analysis. Students are expected to write, read, and critique screenplays on a weekly basis in an effort to produce a polished screenplay by the end of the semester.

82861 CRW3930 Image/Text Workshop M W 1500 1615 Mark Ari

The Image/Text Workshop is intended to allows students to create narrative works that combine textual and pictorial elements into a unified whole. Students may explore interests in sequential art, including graphic fiction and nonfiction; picture poetry; photo essays; and other options. Our focus will be on storytelling but, for method and inspiration, we may consider works as varied as the illuminated books of William Blake; the text-art of Braque, Magritte, Matisse, Ruscha, and related art movements; Xu Bing; Kenneth Patchen’s picture poems; the graphic narratives of Eisner, Moore, and Katchor; as well as more recent developments in new media. Student work will be developed singly or in collaboration. Since this a workshop, we will emphasize developing vocabulary and


thoughtfulness necessary for productive critique. Students will be asked to step outside of their comfort zones. Stumbles and mistakes are relished, because they challenge us to figure out how to use them. Experiment is encouraged. Laughter is an eternal hope.

81011 CRW4924 Adv. Fiction Workshop R 1800 2045 Marcus Pactor

Students will continue to develop their skills in reading, writing, and critiquing, while also becoming familiar with the submission and publication process. Projects that students will engage in may include the following: development of submission portfolios; research on journals, magazines, and online publication outlets; completion of submissions by sending out work for publication; and public readings of student work.

82862 CRW4924 Playwright's Project M 1800 2045 Pamela Monteleone

This course is a workshop in playwriting and play making. The first three quarters of the course is an intensive writing workshop designed to introduce students to the art and craft of playwriting. Students will learn to write and master the 10-minute play format. The final quarter of the course is a play making workshop. Students will select stage-worthy scripts from the plays written in the first three quarters of the course and produce them. The play making workshop includes opportunities for students to hold university-wide auditions, cast, direct, act in, publicize, promote and present their plays in a final performance project for the university community.

81366 ENC2441 G(W) Writing for/about Music DL John Chapman

The learning objectives for ENC 2441: Writing For/About Music focus on interpreting (analyzing, evaluating, and appreciating) the features and dimensions of musical and related texts and on reflecting critically upon the human condition and experience. This course will focus on projects designed to prepare students for academic and professional opportunities that will require them to communicate and express themselves with written English. While maintaining an overall focus on improving the writing styles of students in the class, the course will give students the opportunity to develop portfolios, resumes, cover letters, blogs, liner notes, and performance reviews. All the projects in this course have direct applications for career-minded music students, but the course will also be open to non-music majors as well.

82867 ENC2450 Mathematics and Writing M W 1200 1315 Brenda Maxey-Billings

As mathematician William Paul Thurston explains, “Mathematics is not about numbers, equations, computations, or algorithms; it is about understanding.” In other words, understanding a mathematical concept means more than producing and solving equations regarding it; it also means translating that concept into logical, natural language. College-level mathematics students not only familiarize themselves with the concepts and calculation techniques of the field, but they must also employ language to interrogate and clarify their own thinking, to communicate their understanding, to structure their verbal arguments, to assess and convey their problem-solving methods, and to interpret the prose explanations they encounter in their mathematics textbooks and resource materials. This section of ENC 2450 addresses reading, writing, and rhetoric for mathematics. It introduces rhetorical strategies for specific objectives: to better understand mathematical texts, to convert real-world problems into mathematical language, and to translate mathematical concepts into accurate, natural-language explanations. Additionally, students practice how to produce research-based writing, including the argumentative essay, in the field of mathematics. The coursework focuses on the writing conventions and expectations of the field, and also examines how students might adjust their writing to accommodate differing audiences.


82868 ENC2451 Writing Topics: Health M W 1200 1315 Clark Lunberry

“The Doctor Will See You Now: Writers as Doctors & Doctors as Writers, Anton Chekhov and William Carlos Williams.” What is it that a good doctor and a good writer have in common? The most obvious answer is that both must pay strict attention to that which is before them, to see lucidly and intelligently, with care and compassion, describing (as if diagnosing) the unique facts and features of the place, the person (the patient) before them. Two of modernism greatest writers were—not coincidentally—also doctors: the Russian Anton Chekhov (1860-1904) and the American William Carlos Williams (1883-1963). And so, in this class, we will read a selection of short stories, poetry and plays of each of these doctors/writers, seeking to understand more fully the ways in which their being doctors impacted their being writers, and how the one vocation may have fed and fueled the other. All of our readings will be the starting-off point for class discussions, your oral presentations (called “close readings”), and finally, and most importantly, your own extended formal essays.

82869 ENC2451 Writing Wellness DL Shane Leverette

82870 ENC2451 Writing Wellness DL Shane Leverette

In this class, we will study writing, and we will be writing (and reading) about health and wellness. Broadly, we can find wellness by remaining physically healthy, feeling emotionally and psychologically balanced, and enjoying a sense of purpose and fulfillment. We will explore these and other factors that influence our overall health and wellbeing as we work to understand writing techniques and rhetorical situations.

82871 ENC2461 Writing About the Social World M W 1630 1745 Laura Heffernan

The course is designed to help you improve your grammar and your writing style. Our models of good writing will be drawn from very recent sociology books -- on racial stereotyping, policing, higher education, and housing -- that have reached broad audiences. We'll consider how authors such as Claude Steele, Alice Goffman, Elizabeth Armstrong, and Matthew Desmond build narratives, explain their research, engage with the work of other scholars, and persuade audiences. Our own classwork will treat writing as a collaborative process: expect group writing exercises and an emphasis on revision.

80479 ENC3250 Prof Comm: Copy Editing M W F

1100 1150 David MacKinnon

81367 ENC3250 Professional Communication M 1200 1445 TBA

81368 ENC3250 Professional Communication TBA

The primary emphasis of this course is on the basics of professional communication-research, organization, grammar/mechanics/style. We will also pay attention to the forms of professional communication-letters, memos, and formal and informal reports.

81546 ENC3250 Prof. Comm: Advertising M W F

1100 1150 Ashley Faulkner

81547 ENC3250 Prof. Comm: Advertising M W 1800 1915 Ashley Faulkner

In this course, we develop the virtues of professional communication—accountability, truthfulness and understanding. We learn about our careers and the people in them. We read real-world documents, discover what makes them successful, and learn from their success. We then write reports, proposals, etc. that real people can use in solving problems. At the end of the semester, we sound like professionals (not college students). The course has three units. Each unit culminates in a


polished writing assignment of 1,000 – 1,500 words; at the end of the term, we produce a final portfolio that includes revised versions of all three papers, plus a self-evaluation.

81548 ENC3250 Prof. Comm: Business DL Brenda Maxey-Billings

Numerous surveys of business leaders conclude that while writing operates as “a threshold skill,” “companies spend billions annually correcting writing deficiencies” (National Commission on Writing). By the time most college graduates enter the job market, they have spent years writing in an academic environment, yet their employers remain dissatisfied. The critical difference is this: While professors may penetrate through their students’ surface errors and lack of clarity, business readers demand clarity, concision, and direct, plain English style. This intensive distance-learning class focuses, therefore, on four cornerstones of effective professional communication: (1) Surface correctness; (2) “Plain English” style; (3) Logical, Appropriate, and Ethical Content; and (4) Document Format and Design. Students work toward improving the quality and content of their professional writing and familiarizing themselves with various document formats. The coursework requires students to investigate rhetorical and visual features of communication; research and formulate strong documents; master “plain English” stylistic skills; demonstrate comprehension of written instructions; improve their writing’s grammatical, mechanical, and syntactical correctness; and gain practice in the conventions of professional writing. During the term, each student produces several professionally formatted documents/texts (correspondence, employment materials, technical writing, case studies, etc.), and one formal online “presentation” to the class.

82872 ENC3250 Prof Comm: CCEC Students M W 1500 1615 Mikayla Beaudrie

This course is intended for students in the College of Computing, Engineering, and Construction. The primary emphasis of this course is on the basics of professional communication-research, organization, grammar/mechanics/style. We will also pay attention to the forms of professional communication-letters, memos, and formal and informal reports.

82873 ENC3250 Prof Comm: Food Writing T R 925 1040 Jennie Ziegler

Through this course, students will learn and practice the craft of food writing, including but not limited to feature and academic articles, literary food writing, food blogging, reviews, press releases, recipe writing, and memoir. Students will learn not only how to highlight their writing skills but also how to successfully examine the cultural, political, and historical rhetoric of food and nutrition and employ these rhetorical tactics into their own texts.

82874 ENC3250 Prof Comm: Grant Writing T R 1050 1205 Jennifer Lieberman

Do you know of a community service organization that needs funding? Do you hope to start one of your own? Do you want to fund your own research one day? Grant writing is an important skill that could serve students in myriad professions—including students who want to help nonprofit organizations, students who want to fund their own research, and students who want to give back to their college and their community. We will begin by identifying the research and communication skills necessary to write a successful grant. Over the course of the semester, students will compose and submit actual grants for funding, gaining invaluable professional experience and potentially leaving an actual impression on their community in the process.


81035 ENC3310 Writing Prose M W 1330 1445 James Beasley

In ENC 3310, we will examine three of the most widely-held writing rules in American institutions in the 21st century: that every paper must have a thesis statement, every paper must be free from grammar error, and every paper may only examine one topic. ENC 3310 is truly an intermediate writing course. It serves as a pause, a time to examine the writing you have already done, but also a time to anticipate and identify the writing you would like yet to do. We will examine the difference between the effect your writing has had, and the affect you would like it to have. By taking this class, you will become critically conscious of the artifice and constructedness of writing in American academic institutions in the 21st century, which after many years of uninterrupted and unexamined practice, may have become opaque or invisible to you. There will be no rubrics used in this course.

82875 ENC3930 Copyediting II M W 1500 1615 Linda Howell

This course will focus on editing for fiction writers. We will examine and discuss editing for fiction and work on short exercises throughout class. We will work with Mark Ari’s CRW 3110 Fiction Workshop class and build an edited collection of their writings. Students should have already taken ENC 3250: Prof Comm-Copyediting.

82876 ENC3930 President as Writer F 1200 1445 Linda Howell

We will focus on the rhetorical and compositional aspects of presidential writings. We will read writings from various presidents and other political figures. This course will also examine how contemporary presidential candidates’ rhetoric and writing skills work in a highly mediated environment.

82877 ENC4930 Social Media & Activism M W 1630 1745 James Beasley

Slacktivism. Hacktivism. Brandivism. Students completing this course will not only be able to understand the philosophical underpinnings of new media technologies, but also to utilize new media technologies in the service of cultural analysis. Paul Mason writes, “Facebook is used to form groups, covert and overt—in order to establish those strong but flexible connections. Twitter is used for real-time organization and news dissemination, bypassing the cumbersome ‘newsgathering’ operations of the mainstream media. YouTube and the Twitter-linked photographic sites, such as Flickr, are used to provide instant evidence of the claims being made.” In this class, we will be creating our own social protest movement utilizing Facebook, Twitter, and Instagram, and also utilizing technologies such as Augmented Reality Critiques and their interventions. There will be no rubrics used in this course.

80480 ENG4013 Approach to Lit Interpretation M W 1630 1745 Alexander Menocal

ENG 4013 introduces students to an array of critical concepts and interpretative approaches that should help students improve their abilities to read literature critically. Throughout the semester, we will employ the tools and techniques of literary analysis that students have practiced in other courses to develop interpretations of three novels. These tools should help us identify specific patterns in each text. For example: What important motifs structure the narrative? What is the narrative’s point of view, and how is it significant? What kind of character is the protagonist: complex, dynamic, or static? How does the setting contribute to theme, character, or conflict? In addition, though, ENG 4013 will guide students through the process of learning to formulate more complex interpretations of literary and non-literary texts and to examine the political, psychological, and sociological implications that these interpretations might raise. Andrew Bennett and Nicholas Royle’s An Introduction to Literature, Criticism, and Theory will describe reading strategies and approaches that should contribute to this end. Class discussions will model how these approaches might be deployed in critical readings of the three novels. Students will continue to work on mastering these approaches by refining their thoughts about the novels in several analytical assignments (two passage analysis assignments and one essay).


82878 ENL2012 British Literature I T R 1215 1330 Dwight Gabbard

82879 ENL3501 Periods Early British Lit T R 1215 1330 Dwight Gabbard

Are you a wit? Are you judgmental? In 1690, the philosopher John Locke wrote: “For wit lying most in the assemblage of ideas, and putting those together with quickness and variety, wherein can be found any resemblance or congruity, thereby to make up pleasant pictures and agreeable visions …; judgment, on the contrary, lies quite on the other side, in separating carefully, one from another, ideas wherein can be found the least difference, thereby to avoid being misled by similitude, and by affinity to take one thing for another.” Which one are you? Are you a judgment person, someone who separates ideas carefully and finds distinctions? Or are you a wit person, putting ideas together, looking for similarities? This course will help you figure out which you are. Our readings and discussions will help you find an answer. We will look at poems, plays, and prose from the Elizabethan through the Caroline Periods, the Interregnum, the Restoration, and the Augustan Age (roughly the 1590s to 1735). So come! Be witty! Be judgmental!

81752 ENL3132 Hist. Later British Novel DL Marnie Jones

This Distance Learning course examines the range and pleasures to be found in close readings of classic and contemporary British novels. It explores the developments in the British novel in the 19th to the early 21th century, with a special emphasis on narrative technique and structure. Students have 12 different novels to choose among. Each novel includes several mini-lectures and contextual context support. We explore how the novel dramatizes the tension between the individual self and society, considering what the novels had to say to their original audiences and what they have to say to us today. This course takes advantage of the flexibility of online learning to give students considerable latitude in selecting novels to choose to read from the 19th century to the cusp of our own era. This structure provides you with the opportunity to delve deeply into select novels, but also come to appreciate the novel as a long-standing popular literary form that offers us remarkable insights about what it means to be human. Choices include Frankenstein, Pride and Prejudice, Jane Eyre, Little Dorrit, Heart of Darkness, Mrs. Dalloway, Man of Property, Wide Sargasso Sea, Devices and Desires, The Unlikely Pilgrimage of Harold Fry, Atonement, and The Sense of An Ending.

80010 ENL3333 Shakespeare M W 1630 1745 Pamela Monteleone

This course studies selected aspects of the dramatic works from the early comedies to the late romances. Consideration of non-dramatic poetry may also be included.

80011 ENL3503 Periods Later British Lit M W 1500 1615 Laura Heffernan

This course will cover literature of the nineteenth and early twentieth centuries, including William Wordsworth’s Lyrical Ballads, Charles Dickens’ Great Expectations, the poems and stories of Rudyard Kipling, and the poetry of World War I, as well as historical documents and essays (Edmund Burke, Mary Wollstonecraft, Henry Mayhew, Robert Graves). We will keep our eyes on major historical events (for example, the revolution in France, the 1838 People’s Charter, the Indian Rebellion and 1858 Government of India Act) and also try to imagine the changing texture of everyday life (the rise of industrialism, the feel of urban living, the emergence of women as full citizens). Above all, we will ask: how did the literature of these eras represent life?


82880 ENL4240 Studies Brit. Romantic Lit. T R 1050 1205 Michael Wiley

This course will explore British Romantic literature and culture by focusing on two literary genres: the highly popular but subsequently neglected genre of the gothic novel, and the controversial and subsequently canonized genre of experimental poetry. The Romantic period – conventionally dated from about 1789-1832 – saw great conflicts and great changes in British and European aesthetic, social and political values. We will consider how poems and gothic novels of the period participated in those conflicts and changes, both by addressing a public readership and by addressing each other intertextually.

80903 FIL2000 Film Appreciation W 1800 2045 Stephan Boka

81389 FIL2000 Film Appreciation F 1200 1445 TBA

This course introduces students to film interpretation and analysis by teaching cinematic vocabulary and technique as they have emerged and developed through the history of international cinema.

81370 FIL3006 Analyzing Films T R 1050 1330 Nicholas de Villiers

This course introduces students to key terms for interpreting film, including important concepts and trends in the field of cinema studies. Students will learn how to watch films with a critical eye, how to discuss cinematic form and meaning, and how to write coherent and persuasive essays analyzing film. This course provides an important foundation for more specialized courses in the film studies minor, but will benefit anyone who wants to better understand how movies affect us, and how to put that experience into words.

82897 FIL3363 Documentary Production M W 1630 1915 Jillian Smith

FIL 4363 Adv. Documentary Production MW 1630 1915 Jillian Smith

The art of documentary is twofold: (1) recognizing and capturing the narratives that circulate around us in the real world and (2) shaping them into creative form. In this course we will lay the foundation for this art by understanding and practicing documentary style and technique. Practicing a range of documentary styles and narratives will open students to the creative possibilities of documentary film; thorough technical competency will enable them to be realized. Several small productions and a final interview are designed to teach students preproduction, camera, audio, lighting, interview, and editing skills. Students who are interested in filmmaking of any kind will find this course to be invaluable, and students who are primarily interested in watching film will find that their film viewing skills are strengthened considerably after making film of their own. The Fall and then Spring Documentary Production courses are designed as a two-course sequence, with the Spring semester ending in a public screening. Take the Fall course to get to the Spring course. No prerequisites. Register for “Advanced” only by permission of the professor. Get on the waitlist because seats open. Any questions, contact Dr. Jillian Smith: [email protected]. See the work of AfterImage Documentary here: http://vimeo.com/afterimagedocumentary/videos

82895 FIL3828 International Film Survey M W 1200 1445 Timothy Donovan

In this class, you are exposing yourself to the beautifully strange and profound experience of foreign cinema, where you are transported not only to different worlds, but also to different senses of time, space, and being. We will watch some of the most watched films in the history of international cinema by focusing on national movements that have been recognized for their influence on the development of cinema worldwide—American Romantic Realism, German Expressionism, Soviet Montage, French New Wave, and more. In the process we will learn film vocabulary, film style, film technique, and some film theory. We will also read about the historical context for certain films and


movements in order to get a sense of the politics of film. Students will leave the course having watched some of the “great films” of cinema—Bicycle Thieves (DeSica 1948, Italy), Rashomon (Kurosawa 1950, Japan), The Battleship Potemkin (Eisenstein 1925, USSR), and Breaking the Waves (von Trier 1996, Denmark)—which will give a sense of the contour of international cinema history. Students will be expected to read essays, write reflections on all of the films, and engage in creative and analytical assignments designed to deepen cinematic engagement.

80733 LIT3213 Critical Reading/Writing I T R 1050 1205 Dwight Gabbard

81551 LIT3213 Critical Reading/Writing I T R 1505 1620 Dwight Gabbard

We all have learned basic reading skills, but we have not necessarily learned the depths to which these skills can take us. Literary interpretation is an art not limited to literature. Rather, it is a foundation for sophisticated critical thinking within history, philosophy, culture, politics, media, the arts, and even the sciences. To practice the art of interpretation, we will read, write, discuss, and create. More than anything, our art requires gaining a working knowledge of basic literary tools (i.e., character, point of view, paradox, implied author). ACRW I focuses intensively on learning to use literary tools well. The follow-up course, Art of Critical Reading and Writing II, focuses on using these tools to craft essay-length written interpretations.

81753 LIT3213 Critical Reading/Writing I M W 1330 1445 Jillian Smith

Literary interpretation is an art. It is also a foundation for sophisticated critical thinking and writing within history, philosophy, culture, politics, media, art, and even science. Such sophisticated thinking, however, is grounded in basic techniques. This course is dedicated to teaching students to define, identify, and apply basic literary tools and techniques. Metaphor, paradox, setting, point of view, symbol -- techniques that we tend to use loosely, we will learn to use with precision and purpose. The goal of the class is to teach you how to read literature, and thus any text, with intensity. English majors should run to this course (it is required); creative writers often find it invaluable; and all majors are welcome. (This course, because of its coverage of narrative technique, fulfills the analysis requirement for film minors.)

82181 LIT3214 Critical Reading/Writing II W 1800 2045 Timothy Donovan

82899 LIT3214 Critical Reading/Writing II M W 1200 1315 Timothy Donovan

The task in this course is to relearn and redevelop the techniques necessary to read and write critically from a literary perspective. All of us know how to read and write. We have been doing it since primary school or earlier. This course, however, will stretch, strengthen, and reinforce the habits of that readied development. Students in Art of Critical Reading and Writing II are expected to use their preparation from Art of Critical Reading I, to compose coherent and cohesive analytical essays that thoughtfully put these literary tools and techniques to work. In doing so students will be expected to compose cohesive paragraphs, formed by analytical insights, expressed in stylish sentences that form a coherent essay. This course is a part of a series of courses required for English majors. Majors are advised to take Art of Critical Reading and Writing I before taking Art of Critical Reading and Writing II. Nevertheless, any


student interested in working on their literary methodology and academic writing should consider taking this course.

82900 LIT3304 Lit of Pop American Culture T R 1630 1745 Betsy Nies

Have you ever wondered why we read the same types of books over and over again? Why do certain genres maintain a strong readership and what do they tell us about ourselves? Focusing on the gothic, Western, hard-boiled detective, and romance genres, this course seeks to address those questions. The structure of these genres remains consistent, even if the content varies. We will explore the philosophical underpinnings of each genre (including sub-genres such as serial killer and vampire romance), considering why certain fantasies emerge at certain moments. The class will close with a creative project in which students rewrite a genre to comment on current contemporary political and social issues.

81870 LIT3331 Children's Literature DL Mary Baron

This course is for students of literature and for students who wish to become language arts teachers. The texts have been chosen to be interesting and provocative and to raise issues both literary and ethical that surround working with children. They will require you to think in different ways about texts you may have loved as a child. For example, can you see how the book Curious George can be read as a slave narrative? Do you see that it might not be the best book to offer an African-American kindergartener? Is the mother in Love You Forever perhaps a mentally ill stalker? Would the boy in The Giving Tree benefit from some tough love?

81552 LIT3333 Adolescent Literature T R 1340 1455 TBA

We will read classic and contemporary literature considered suitable for middle and high school students, as well as literary criticism, developmental psychology, and sociology. As we move through the course we will ask the following questions, among many others: What are the functions of adolescence in our culture? How does adolescence happen in other cultures? How is adolescence different for females and males? Does adolescent literature serve one or more social functions?

82901 LIT3990 Outsiders in Literature T R 1050 1205 Mary Baron

In this course we will read stories about people who are left out, cast out, alienated, imprisoned, segregated, or otherwise discarded. Proverbially, this means they know most about what is going on. We will test this premise as we examine and discuss short stories.

82902 LIT4093 21st Century Literature M W 1200 1315 Laura Heffernan

When literary critics of the future look back on early twenty-first century literature, what will they identify as its best works and its characteristic forms and subjects? In this course, will attempt an historical assessment of the literary works of our contemporaries. Primary course readings will include: China Mieville's The City and the City, Keise Laymon's Long Division, Jennifer Egan's A Visit from the Goon Squad, Junot Diaz’s The Brief Wondrous Life of Oscar Wao as well as poems by Juliana Spahr, Claudia Rankine, Timothy Donnelly, Cathy Park Hong, and others. We will also read contemporary book reviews an conduct our own research to build a “history of the present.“ Course requirements include: lots of reading, lively class participation, several group projects, and a final paper.

82903 LIT4243 Major Authors: William Blake T R 1505 1620 Michael Wiley

This course will focus on William Blake, the poet, engraver, artist, mystic, political theorist, visionary, Londoner, and madman. Blake’s writing and pictorial art exploded the mental, physical, and ideological shackles that contained and constrained readers at the end of the eighteenth and beginning of the nineteenth centuries. As we will see, his work still tests – and breaks through – the limits of readers in the twenty-first century.


82904 LIT4650 Comparative Literature: Dada M W 1630 1745 Clark Lunberry

“DADA @ 100: The Art of Anti-Art.” The art and literary movement DADA was born in 1916, in a seedy bar (the Cabaret Voltaire), in Zurich, Switzerland. Its anarchic powers, incited in part by the lunacy and horrors of WW I, quickly spread like a contagion across Europe, even leaping the Atlantic and landing forcefully in New York City. Ever since, DADA’s viral energies have never been stopped (nor even contained), as every twenty years or so DADA re-arises, DADA becomes neo-DADA, again and again. And now at the ripe young age of 100, DADA still lives, with its rich and nihilistic forces still feeding restless and hungry imaginations. With DADA’s visual images of violent collage, its poetry of ecstatic fragmentation and calculated non-sense, its theater of chaos and absurdity, this cultural movement clearly tapped into a necessary and enduring modern impulse. And in this interdisciplinary class, we will celebrate DADA’s writings, its manifestoes, its paintings and performances, as well as its lasting legacy. This class will also include exciting activities and visits by the neo-DADAIST Mark Hosler and a performance by his legendary band Negativeland (at Sun-Ray Cinema, in Riverside), a DADA-inspired sound installation by Erik DeLuca, collaborative activities and events by those participating in the class, and much, much more.

82905 LIT4930 African Diaspora T R 925 1040 Shane Leverette

The African diaspora refers to communities of people descended from Africans who moved or were removed from Africa to other parts of the world, primarily the Americas, Europe, Asia, and the Middle East. This course allows students an interdisciplinary approach to and understanding of the African diaspora, an historical and contemporary phenomenon highly relevant to current studies of race and culture in the United States and beyond. Students will explore the African diaspora via multiple disciplines—such as Anthropology, English, History, Philosophy, Political Science, and Sociology—and via community partnerships. Because this class encompasses Community Based Learning (CBL), students will bridge classroom discussions and course texts with relevant community experience, gaining connections among people and between knowledge and application of that knowledge. The class will cover a number of key units: African history and the Trans-Atlantic Slave Trade, literary and cultural productions of the diaspora, the anthropology of race, the politics of blackness across temporal and spatial planes, and the diaspora as it manifests locally. This final CBL component will allow students to learn how people of the diaspora shape and have been shaped by living in Northeast Florida.

82186 LIT4934 Reading Matters W 1200 1445 Marnie Jones

Enroll in a course you will enjoy & remember for the rest of your life! 60 students have taken it and everyone recommended other students enroll. Representative comments: “These children are extraordinary—it is an amazing experience. The things I have gained will affect me for years after this.”/ "It is a deeply rich experience as it allows us to see why reading matters in action. The time with the children is priceless.”/ "This class, by letting you choose your own reading list, helps rekindle your joy of reading. It's a gift.” The central question explores why reading matters and will yield fascinating and complex answers. Part of the semester we meet at Woodland Acres Elementary School to help 5th graders develop their reading skills. The other component of the course will focus upon our own experience of reading. Together we read Steve Pemberton’s, A Chance in the World. Student will contract with the professor to design a personal reading curriculum that matters to you: you can use this experience to delve deeply into the work of a new or favorite author; read those


books that you always intended to when you had the time. If you don’t need Senior seminar, this course can count as an elective for the American or British minor, depending upon the reading you select. The time block allows you to take a class before or after (it includes transportation time to and from the school). Please contact Dr. Jones at mjones@unf for more information.

82906 LIT4934 Myth, Fable, Fantasy M W 1500 1615 Keith Cartwright

This senior seminar will study how imaginative literature constructs virtual realities that allow us to explore, question, challenge, escape, reshape, and navigate-with-a-difference some of the boundaries and assumptions of our “real” worlds. We will access other realms through Joseph Campbell’s comparative study of myths, Sun Ra’s Afro-futurist ideas of “myth science,” core works of the Western canon (from Homer to Shakespeare), American Indian animal fables and medicine tales, Afro-creole “allegories of the wilderness,” Tolkien’s realm of “fairy,” and via fantasy realms and avatars of contemporary media—from Japanese Anime to the apocalyptic souths of The Walking Dead.

82907 LIT4934 Senior Seminar: Literary Frauds T R 1630 1745 Michael Wiley

One of the uncomfortable secrets of literary studies is that some of the writers whom we praise as the most original and imaginative also have been accused of stealing others’ work or misrepresenting their own roles as authors. S.T. Coleridge, Thomas DeQuincey, and Edgar Allan Poe, for instance, were all notorious plagiarists. In recent years, such widely divergent writers as James Frey (A Million Little Pieces), Dan Brown (The Da Vinci Code), and Stetson Kennedy (The Klan Unmasked) also have been accused of committing literary fraud. This Senior Seminar will ask, what is literary fraud? What is plagiarism, what is forgery, and what is authorial misrepresentation or inauthentic self-representation? We will consider what works by writers such as Aeschylus, Sophocles, William Shakespeare, William Wordsworth, Coleridge, Poe, Heiner Müller and others tell us about our ideas of literary dishonesty and about now standard literary values, such as originality, imagination, authority, authenticity, genius, and personal voice. We also will consider how these values have evolved over time, and how the idea of authorship has come to have the various meanings that it has today.

80734 TPP2100 Acting I M W 1200 1315 Pamela Monteleone

This is a beginning course in the fundamentals of acting. Students learn a working vocabulary and acquire basic skills of the acting process. Through formal and improvisational techniques for developing vocal, physical, and analytical skills associated with behavior-based acting, students explore the imagination as the actor's primary resource for building a character. Emphasis is on relaxation, trust, and mental agility. Some monologue and/or scene work may be required.

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