Department of English

Sasha Johnson (l) helps celebrate with Sigma Tau Delta adivsor Ashley Bissette Sumerel after the fall induction ceremony.

Undergraduate Course Descriptions

FALL 2018

ENG 202-001 | TR 2:00–3:15
ENG 202-002 | TR 3:30–4:45
Introduction to Journalism
Rory Laverty
Prerequisite: ENG 103 or ENG 201, or consent of instructor. Introduction to news values, style, and writing. Focus is on current event literacy, writing news stories under deadline pressure, interviewing, investigating, and feature writing. Partially satisfies University Studies IV: Building Competencies/Writing Intensive. Partially satisfies University Studies IV: Building Competencies/Information Literacy. Satisfies University Studies V: Explorations Beyond the Classroom..

ENG 202-003 | MWF 9:00–9:50
ENG 202-004 | MWF 10:00–10:50
Introduction to Journalism
Shirley Mathews
Go beyond the mundane "who, what, where, when and why" of journalism and, over the semester, discover the fact that remains as true today as when the Founding Fathers raised Freedom of Speech as a fundamental right: One person telling the truth can indeed change the world. Extensive practice in the basics of writing news stories, instruction in how a newsroom works, training in how to look for stories and the importance of accuracy, accuracy, accuracy. Roll up your sleeves, put on your good shoes and prepare to walk in the footsteps of giants. Texts include Melvin Mencher’s News Reporting and Writing and The Associated Press Stylebook 2016 or newer.

ENG 204-001
Introduction to Professional Writing
Amanda Coyne
Online
Introduction to Professional Writing is an introductory survey of concepts in professional writing, including audience analysis, research methods, visual thinking, and the composing process. This course includes a service-learning component. This is an online course.

ENG 204-002 | T 3:30–4:45; R online
ENG 204-003 | T 2:00–3:15; R online
Introduction to Professional Writing (hybrid)
Jeremy Tirrell
Students in this course will engage core professional writing concepts including audience analysis, document design, usability, and ethical composing practices. Students will produce materials such as public relations documents and technical instructions in multiple formats. Individual and group projects are a feature of this course, as is directed service learning with community partners. This is a hybrid course. During most weeks, students will meet once in a classroom and have one online instruction session. Students must be comfortable with sustained, independent online interaction to succeed in this course.

ENG 204-004 | MW 1:00–1:50; F online
ENG 204-005 | MW 11:00–11:50; F online
Introduction to Professional Writing (hybrid)
Anirban Ray
This course prepares you to face workplace challenges that require professional communication skills in terms of writing and presentation. It will enable you to develop critical appreciation for core technical concepts including audience, context, persuasion, and purpose in writing situations with an emphasis on ethics in communication. You will be exposed to writing a variety of business collaterals, such as resumes, memos, proposals and reports in different contexts and for different purposes. Additionally, this course puts a huge emphasis on information design from a visual communication framework and challenges students to create technical documents from a defined visual perspective. Most importantly, you will find opportunities to collaborate with peers to share expertise, knowledge, and experience in a service-learning framework. By the end of this course, you will learn to design effective technical documents to solve problems with attention to text, visuals, format, usability, and citation. Since this class is a hybrid, we will meet face-to-face twice a week and online (asynchronous) once a week.

ENG 204-006
ENG 204-008
Introduction to Professional Writing
Anthony Atkins
Online*
The course will introduce students to strands of Professional Writing like document design, resume writing, and using multimedia. Students will also review and evaluate a number of online and traditional texts ranging from websites to professional reports. While students will work with traditional documents, they will also address multimedia's impact on professional writing. This course also requires a Service/Applied Learning component. This means students will work with a client in the community to apply what they learn in the course. Students should have access to the Internet and Blackboard. Students should have basic technology skills (adept with email, attachments, blackboard, etc.).
*Access to Blackboard and the Internet for the full semester is required.
*There are no required face-to-face meetings.

ENG 204-007 | TR 12:30–1:45
Introduction to Professional Writing
Addie China
This course will introduce students to the fundamental technical concepts of professional writing in order to help develop students' professional presentation and written communication skills.  Students will interact with a variety of business texts and documents, including résumés, proposals, reports, and digital communicative forms, such blogs, tweets, and posts for business social networking communication.  Students will also explore how issues of audience design, context, persuasion, genre, and multimodality affect various types of business texts.  In this face-to-face class, students will learn to design and evaluate business documents by working independently and through collaboration with peers.

ENG 205-001 | TR 9:30–10:45
Introduction to Literary Studies: Ralph Ellison’s Invisible Man
Alex Porco
The purpose of ENG 205 is to teach majors and minors how to write informed, persuasive, and stylish literary and cultural criticism. To that end, we will spend the semester reading in and around Ralph Ellison’s Invisible Man, immersing ourselves in one of the great American novels of the twentieth century. Students will complete a series of reading, research, and writing assignments related to the literary, historical, cultural, and musical contexts of Invisible Man. For example, students will learn about Ellison’s biography, including his early affiliation with the Communist Party; the novel’s publication and reception history, especially the significance of its winning the National Book Award; the novel’s soundscape, including key jazz recordings by Louis Armstrong (“Black and Blue”) and Duke Ellington (“Jack the Bear”); Ellison’s interest in and indebtedness to comic books at mid-century (“a comic-book town on a comic-book day in a comic-book world”); Ellison’s collaboration with photographer Gordon Parks, who produced an interpretation of Invisible Man in a series of black and white photographs that appeared in LIFE magazine in 1952; and, finally, the legacy of Ellison’s novel, including its relationship to Kendrick Lamar’s To Pimp a Butterfly album and contemporary visual artist Jeff Wall’s After “Invisible Man” by Ralph Ellison, The Prologue.

In short, this course will show students multiple ways of approaching and understanding a literary artifact such as Invisible Man. ENG 205 will provide students with an extended occasion to practice skills (research, fact-checking, close listening, interpretation, argumentation, multimodal writing, editing and proofreading) that are essential for success in upper-division literature courses and, equally important, transferable beyond the classroom.

Partially satisfies University Studies IV: Building Competencies/Writing Intensive. Partially satisfies University Studies IV: Building Competencies/Information Literacy.

ENG 205-002 | TR 11:00–12:15
Introduction to Literary Studies
Dan Noland
Why do you want to study approaches to literature? That question you will mull and eventually answer in detail. You will develop a rich relationship with literature, learning and applying vocabularies and methods of literary theory and criticism, performing close readings and analyses of primary texts and secondary source materials, developing a writerly voice and understanding conventions of literary criticism and research. Text: The Norton Anthology of King Lear; others will be posted online.

ENG 210-001 | TR 11:00–12:15
Mythology
Victor Malo-Juvera
Obi-Wan Kenobi, Dumbledore, and Gandalf the Grey all die in almost identical scenes. In Harry Potter, Fluffy is lulled to sleep by music. In Game of Thrones, Lyanna Stark is abducted by a Targaryen prince, and Stannis Baratheon sacrifices his daughter on advice from the Red Woman. All of the aforementioned scenes can be traced back to ancient myths and this course will examine the underlying mythic structure of modern works of literature and popular culture. Specifically, we will study of the mythic structure of the hero’s journey and through readings of Greek, Roman, and Norse mythology, critically interrogate multiple myths.

ENG 211-001 | MWF 11:00–11:50
ENG 211-002 | MWF 1:00–1:50
British Literature to 1800
Mike Wentworth
As a survey of English literature to 1800, our course will consider the enduring literary and cultural legacy of such major figures as Geoffrey Chaucer, Sir Thomas More, Christopher Marlowe, Ben Jonson, John Milton, Richard Steele, Joseph Addison, and Samuel Johnson and less familiar, though nonetheless significant, figures as Eliza Haywood, Frances Burney, Mary Astell, and Lady Mary Wortley Montagu (all of whom, you might note, are women) in relation to such topical and thematic concerns as power, freedom, social order, conformity and rebellion, life choices, happiness, the problem of evil, happiness, life choices, gender roles, romantic love, marriage, sexual commerce, and sexual exploitation. Over the upcoming weeks, we will encounter major barnyard mayhem, diabolical contracts gone bad, demonic delinquents on a tear, and, for better or worse, the full simmering broth of human emotion. Throughout the course, we will further consider strategies of interpretation, literary devices and conventions, and matters of literary form and genre.

Beyond the general focus of the course as a survey of English literature to 1800, I can think of a number of further concerns that should characterize our collective, and your individual, enterprise over the coming weeks.

First of all, since literature doesn't originate in a vacuum, we will be concerned throughout the course with the informing intellectual, cultural, and historical context for the assigned readings and will be similarly concerned with recurring emphases, ideas, and topical issues, e.g., art and nature, reason and faith, ideals of conduct, the role of women in society.

We will also be concerned with establishing complementary relations between our assigned readings and other works of literature you have read, either independently or in other courses; the current arena of local, national, and international affairs; contemporary popular culture (television, film, popular music, etc.); and other academic courses you have taken—e.g., English history, psychology, philosophy and religion, sociology, anthropology, women's studies—the supposition being that, beyond the usual platitudinous lip service, a real liberal arts education should be consciously and purposefully interdisciplinary and thereby should encourage a sensitivity to the interconnectedness of both major and non-major courses.

Perhaps most importantly, we will be concerned with an ongoing attempt "to come to terms," both individually and collaboratively, with each of the assigned readings. Such a "coming to terms" will require a thoughtful interaction on your part with the assigned texts, i.e., determining the values and beliefs that condition and inform a particular text and then measuring those values and beliefs against your own. Such thoughtful interaction may lead, in some cases, to a clarification or confirmation of your own values and beliefs or, in other cases, may lead to a delayed judgment. At any rate, whatever judgment you come up with should be based upon deliberative and reflective negotiation on your part. Beyond recreational pleasure, emotional engagement, and intellectual stimulation, one of the most compelling arguments for reading literature is the simple fact that the "thoughtful interaction" I've been talking about can lead to a greater sense of self-insight and self-understanding (the very destination, interestingly enough, of many of the characters we encounter in literature). Required texts include: Chaucer, The Canterbury Tales; Marlowe, Doctor Faustus with the English Faust Book; Marlowe, The Passionate Shepherd to His Love; Raleigh, The Nymph's Reply to the Shepherd; More, Utopia; Swift, The Lady's Dressing Room; Montagu, The Reasons That Induced Dr. Swift to Write a Poem Called the Lady's Dressing Room; John Wilmot, Second Earl of Rochester, The Imperfect Enjoyment; Behn, The Disappointment; Steele, Spectator No. 41; Addison, Spectator No. Two; Addison, Spectator No. 275; Addison, Spectator No. 281; Addison, Spectator No. 323; Defoe, The Cons of Marriage; Astell, "From Some Reflections on Marriage.”

ENG 212-001 | TR 9:30–10:45
British literature Since 1800
Lewis Walker
This course is a survey of significant short works of English Literature from roughly the past 220 years. The three periods (Romantic, Victorian, and Twentieth Century and After) into which our book divides this work include poetry and prose of enormous diversity and richness. Types of literature covered include poems, short stories, a short novel, and essays. In addition to analyzing the individual works read, we will give attention to the cultural and historical context of those works. Authors include William Wordsworth, John Keats, Matthew Arnold, Robert Louis Stevenson, Virginia Woolf, Katherine Mansfield, James Joyce, T. S. Eliot., and Seamus Heany. Reading quizzes, class participation, three tests.

ENG 223-001 | TR 11:00–12:15
American Literature to 1870
Lee Schweninger
This course will offer you an overview of American literature from its very beginnings through the late Romantics in the nineteenth century. We will read this literature in its literary, historical, political, and social contexts. As such, we will look at literature of the European explorers, at American Indian responses to encounters with Europeans, at the colonial era including Puritan poets and historians, at the writings of some of the founding fathers and mothers. The course will proceed into the Romantic era with writers such as Poe, Irving, Stowe, Hawthorne, Dickinson, and Whitman—writers of the American literary renaissance, as it has been called.

You will be asked to keep an informal reading response journal, to write formal and informal short response essays, to be responsible for the readings and class discussions, to take occasional reading quizzes and mid-semester and final essay exams. As this will be a discussion based class, attendance and attention to the readings will of course be required. Within the major, this course satisfies the “Literature before 1900” requirement. Within University Studies, this course partially fulfills the Writing Intensive requirement as well as the Aesthetic and Literary Appreciation requirement.

ENG 224-001 | TR 3:30–4:45
American Literature Since 1870
Bill Atwill
This course surveys the diversity of American literature from about 1870 to the present and traces its historical development. Through inquiry into personal, economic, and cultural forces that helped shape the creative output of authors, ENG 224 will introduce you to literary scholarship and to the resources available through various on-line databases.

ENG 224-300 | TR 9:30–10:45
HON: American Literature Since 1870
Keith Newlin
In this course, we will read representative fiction, plays, and poems in American literature from the late 1900s to the present. We will discover how and why each story “works”—how it captures the reader’s interest, the aesthetic methods the authors use to tell their story. We will also look at the political, social, and cultural context; and we will discuss such issues as emerging feminism, critical responses to racism, the literature of propaganda, alienation and literary experiment, and why some writers get represented in anthologies and others do not. This section will also emphasize critical discussion and writing. Texts: Cain, American Literature, Vol. 2, 2nd ed. (Penguin Academics); Faulkner, As I Lay Dying.

ENG 225-001 | TR 12:30–1:45
World Literature to 1600
Lewis Walker
We will range widely in time and geographical location to encounter a representative sampling of the rich variety in world literature during a period of over 4000 years. Readings will include the Gilgamesh epic; selections from the Hebrew Bible and ancient Egyptian poetry; selections from Homer (Iliad and/or Odyssey); Oedipus the King by Sophocles; selections from ancient Chinese Literature (The Classic of Poetry and the Analects of Confucius); selections from ancient India (the Bhagavad-Gita); selections from Roman poetry (Catullus, Ovid, and perhaps Virgil); selections from the Christian Bible; selections from the Qur’an; Dante’s Inferno. Reading quizzes; class participation; written responses; midterm and final tests.

Text: The Norton Anthology of World Literature. Ed. Martin Puchner. Vol. 1. Shorter 3rd ed. Norton, 2013. 978-0-393-91960-8.

ENG 226-001 | MW 3:30–4:45
World Literature Since 1600
Paula Kamenish
This course explores representative works of world literature since 1600. Featured authors may include Cao Xueqin, Voltaire, Basho, Flaubert, Dostoevsky, Tolstoy, Tagore, Kafka, Borowski, García Márquez, and Achebe. We will look at common themes, the techniques of storytelling, the use of metaphoric language, how literature relates to the other arts and to political, social, philosophical, or religious ideas. You will learn to trace a chronology of world literature from the 1600 to the present, while making comparative explorations between national literatures.

Recommended Prerequisite: ENG 103 or 201. This course partially satisfies University Studies II: “Aesthetic, Interpretive, and Literary Perspectives;” it satisfies University Studies II: “Living in a Global Society;” and it partially satisfies University Studies IV: “Writing Intensive.”

ENG 227-001
World Anglophone Literatures
Maia Butler
Online
Who gets to write the (his)story of a region, a nation, a people? Whose voices does history privilege, and whose voices are silenced or pushed to the margins? In this class, we will read two important British colonial novels that represent—depict, portray, construct—Africa and India, only to contextualize the Anglophone postcolonial voices from those regions who respond to the earlier narratives. These novels represent historical moments with ripples of local, national, and transnational impacts, showing how geopolitics enter the realms of the intensely personal and domestic. We will also have an array of resources available so we can explore the events and terminology we encounter, which will help us understand our readings, discuss them, and write our responses.

Anticipated Texts: Heart of Darkness, Joseph Conrad; Things Fall Apart, Chinua Achebe; Nervous Conditions, Tsitsi Dangarembga; Passage to India, E.M. Forster; Midnight’s Children, Salman Rushdie; The Other Side of Silence, Urvashi Butalia; other materials will be made available on Blackboard on PDF

Activities: In this online class, students can expect to: interact on discussion boards several times each week, write short reading responses, and complete a collaborative project (choose from: mixtape, art gallery, etc.).

Satisfies: English: Diverse Literary Cultures University Studies II: Approaches and Perspectives/Living in a Global Society. Partially satisfies: University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives; University Studies IV: Building Competencies/Writing Intensive.

ENG 230-001 | TR 9:30–10:45
ENG 230-002 | TR 2:00–3:15
Women (and Transfolk) in Literature: Journeys
Katie Peel
In this course we will examine literary representations of women by authors who at some point identify as women or trans. We will begin with the introduction to Sandra Gilbert and Susan Gubar’s landmark work, The Madwoman in the Attic, as well as Virginia Woolf’s “A Room of One’s Own” and Alice Walker’s “In Search of our Mothers’ Gardens,” and discuss the cultural, economic, and political factors that historically have affected western women’s writing. Our course this semester will explore the theme of journeys (literal and figurative), and how movement and energy are reflected in women’s writing. We will explore multiple genres, and look at how writers create narrative about gendered experiences. We will consider factors including class, sexuality, race, gender identity, modes of production, and social justice activism. Our work together will not seek to reduce women’s writing to a common denominator of qualities, but rather, explode existing categories.

*Our study will be inclusive of trans and nonbinary gender identities. Historically, to not be classified as male in American and British culture tended to automatically mean classification as female. We will bring a broader understanding of gender to our exploration of writing in a patriarchal culture.

ENG 230-003 | MW 2:00–3:15
Women in Literature
Amanda Coyne
In this course we will explore classical and contemporary women writers. We will look at a variety of genres, time periods, and perspectives to discuss and analyze the many ways women are represented and represent themselves. Along with looking at more traditional genres such as poetry and novels, we will also explore how popular culture impacts how women are (and are not) represented. As we analyze these texts we will also explore issues such as women in the economy, gender identity, women's rights, motherhood, class, and race (among others).

ENG 230-004 | MWF 11:00–11:50
Women in Literature
Ashley Bissette Sumerel
In this course, students will analyze and discuss classic and contemporary women’s literature, including the works of Bradstreet, Dickinson, Plath, Sexton, Chopin, and Atwood. As we read these texts, we will also explore topics such as women’s rights, female sexuality, and traditional and non-traditional gender roles.

ENG 231-001 | TR 2:00–3:15
Theory and Practice of Hip-Hop
Alex Porco
In the 1970s, hip-hop emerged as a local cultural practice in the South Bronx, a neighborhood devastated by unemployment, drugs, and escalating gang violence, as well as the city’s disinvestment in education. Today, hip-hop’s a multi-million dollar industry with a truly global reach. Everything from haute couture fashion to professional sports and comic books are touched in some way by the music and culture. Our challenge is to think critically about the significant aesthetic, linguistic, economic, political, and technological contributions and transformations of hip-hop music and culture over the last forty years. We will attend closely to hip-hop’s four elements—rapping, turntablism, graffiti, and break dancing—as well as key figures, record labels, performance venues, period styles, and genres. Other topics we will address include: gangsta rap and moral panic in the late 1980s; the contributions of women to the production of hip-hop; the emergence of hip-hop cinema, television, and literature; and hip-hop’s relationship to sports, especially basketball.

It’s an exciting time to study hip-hop music and culture. It is a (relatively) new field of study that continues to grow. Accordingly, we will reflexively deliberate on the condition of hip-hop as a field of study—in particular, we’ll focus on hip-hop’s use and value within the twenty-first century academy. The design of the course is purposefully interdisciplinary because hip-hop is interdisciplinary. Therefore, students from fields as diverse as sociology, history, music, literary studies, cultural studies, education studies, dance, and film are encouraged to enroll.

ENG 232-001 | MWF 10:00–10:50
African American Literature: Black Women’s Literary Tradition
Maia Butler
Black women writers have always (re)written themselves, their communities, and their place in America and the broader African diaspora. From Phillis Wheatley’s 1773 Poems on Various Subjects (slavery, religion, and the burgeoning republic), to Claudia Rankine’s genre-bending meditation on the hyper/in/visibility of black women in Citizen, black women have detailed their experiences in private and public spheres. They construct and challenge conceptions of gender, race, class, nation, sexualities, and their interstices, speaking truth to power in a range of genres from the poetic to the fictional, the autobiographical and the dramatic, writing for print and film and other media. Black women writers have recorded and imagined pasts, they will project and conjure futures, and their work influences other cultural productions, thought, and activity. In this class, we will think, talk, and write about representation, identity and performativity, and speculative visioning work.

Anticipated Texts: Pauline Hopkins, Of One Blood; Octavia Butler, Parable of the Sower; Claudia Rankine, Citizen; other texts will be available on Blackboard

Counts toward: Africana Studies Minor
Satisfies: University Studies II: Approaches and Perspectives/Living in Our Diverse Nation
Partially satisfies: University Studies IV: Building Competencies/Writing Intensive; University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives

ENG 233-001 | TR 8:00–9:15
The Bible as Literature
Lewis Walker
This course examines the Bible as a literary work, or, more accurately, as a collection of literary works. Through readings in the Old Testament, the New Testament, and the Apocrypha, we will consider matters such as genre (for example, narrative poetry, history, letter, parable); style (for example, diction, metaphor, simile, symbol); historical and geographical context, authors, and organization; literary and cultural influences on the Bible; and the canon. Written responses; reading quizzes; midterm and final exams; oral participation. It is absolutely essential that everyone who enrolls in the course acquire both of the assigned texts. The only acceptable version of the Bible for class use is The New Jerusalem Bible (the hardback edition with full footnotes—not the paperback version and not any other Bible).

Texts: Gabel et al., The Bible as Literature, 5th ed. 978-0-19-517907-1; Wansborough, ed., The New Jerusalem Bible. 0-385-14264-1.

ENG 290-001 | TR 9:30–10:45
Themes in Literature: The Devil Inside
Nick Laudadio
“The loveliest trick of the Devil is to persuade you that he does not exist.”
—Charles Baudelaire

In this class, we will be exploring popular representations of evil personified. Beginning with an historical overview of the character we most often call “The Devil”—the representation of radical evil as an individual—this course will then trace the evolution of that ancient idea into contemporary versions of Satan that we find in fiction, music, film, and television, as well as the larger cultural/social responses to these texts and characters. Obviously, given the nature of this subject matter, some of the materials we will be encountering in this course are graphic and quite disturbing. Please be forewarned. Also, it is important to note that this is a class rooted in cultural and literary studies—the focused, critical analysis of the “stories we tell ourselves about ourselves”—this is not a theology course and we will not be dealing with issues of faith and belief except as they function as motivating forces in the texts we encounter. This is the history of an idea, not of a being. Readings will range widely across primary and secondary sources, with a particular focus on the history of the idea of the devil, pop cultural representations of that idea, and critical responses to both. Students will be expected to watch films, read novels and essays, listen to music, and take notes on all of the above whilst doing so all on their own time. Self-motivation is a plus here, as this class will be slightly larger than usual for our department, but no less participatory for the fact.

ENG 290-002 | MWF 12:00–12:50
Themes in Literature: Borderlands
Hannah Abrams
Following Edward Said’s arguments about identity in Orientalism, this course recognizes the existence of a “medical orientalism.” The gulf between patient and doctor is sometimes not so easily crossed and, occasionally, the tension between “disease” and “patient” can reduce the dialogue and challenge empathetic communication. Students will pursue an examination of literary medical narratives by physician-writers who cross personal and professional boundaries and think contrapuntally. Gloria Anzaldua’s book La Frontera (Borderlands) serves as a further inspiration for this class, wherein we will consider readings that, through the lens of medicine, identify areas of dispute, ambiguity, cultural mixing, and even danger. Students can expect luminous, exciting, beautiful, and mind-bending work from the likes of Alberto Rios, Sandra Cisneros, Oliver Sacks, Jimmy Santiago Baca, WH Auden, Emily Dickinson, and others.

ENG 290-003 | TR 2:00–3:15
Themes in Literature: Feast or Famine—Food, Culture and Society
Michelle Manning
“Tell me what you eat and I will tell you who you are.”
—Anthelme Brillt-Savarino

If we are what we eat, then what is revealed in our eating habits? Who determines what food is and what we eat? How does studying food in literature and other texts help us better understand “society”, “culture” and “identity”?
From blogging and vlogging to personal narratives and published memoir to novels and short stories to documentaries and feature films, we will devour texts where food—or the lack of food—is part of the literary recipe and explore the ways in which sustenance is used politically, culturally, and personally.

We will chew on topics such as body politics, eating disorders, eating rituals, food-based activism and politics, and the historical significance of food. Our menu of textual entrees will offer items that feature not only the ways we view our bodies, but also the ways in which we view our culture, allowing us to feast on how food is related to identity, ethnicity, religion, politics, economics, nationalism, gender, health, and environment.

For dessert we will investigate local foodstuffs and go on various field trips (possibly one to Charleston, SC). We will also cook up some interesting and varied in-class food projects.

ENG 303-001 | TR 9:30–10:45
Reading and Writing Arguments
Jeremy Tirrell
This course asks students to analyze the rhetorical strategies of effective written arguments addressing contemporary social and political issues drawn from periodical sources. Students then will compose their own arguments using the insights gained from engaging these materials. Arguments’ effectiveness derives from internal aspects including structure, language choice, and presentation of evidence as well as external aspects such as awareness of audience and context. In this course, students will examine these elements and put them into practice by producing four essays refined through processes of drafting, receiving feedback, and revising.

ENG 303-002
Reading and Writing Arguments
Anthony Atkins
Online
This course will address both the interpretation and analysis of written and visual arguments. Students will engage in writing and composing their own arguments using any number of argument structures. Students will also compose and design their own visual argument. Students should have access to the Internet and Blackboard. Students should have basic technology skills (adept with email, attachments, Blackboard, etc.).
*Access to Blackboard and the Internet for the full semester is required.
*There are no required face-to-face meetings.

ENG 304-001 | TR 9:30–10:45
Writing for Teachers
Victor Malo-Juvera
This course will introduce theoretical foundations and instructional strategies for teaching writing in secondary schools. We will begin by examining skills such as vocabulary, grammar, brainstorming, prewriting, and basic paragraph structures. We will then address the most frequently encountered/tested writing in secondary schools: narrative, expository/informational, argumentative, and research papers. Techniques such as scaffolding instruction, peer editing/review, alternative forms of assessment, and culturally relevant instruction will play a critical role in this course. We will also examine requirements for on demand standardized writing assessment and discuss how the Common Core State Standards and the new trend in using End of Course tests may impact writing instruction in the future.

ENG 305-001 | TR 11:00–12:15
Professional Review Writing: Everybody’s a Critic!
Shirley Mathews
And in this course, everyone is a critic. Students will have an intensive hands-on experience in the fundamentals of how to think and write critically—and fairly—about plays, restaurants, concerts, music, photography, movies and other creative endeavors, all with an eye to producing professional-quality—and publishable—work. Emphasis is on background research that will strengthen the perspective and credibility of the student’s finished review. Students do not need experience in any of the areas they will review, but all students will need a willingness to learn about unfamiliar topics and to think about them analytically. Only formal text required is the Associated Press Stylebook, 2016 edition or newer. Students will need to budget about $60 (or more) for expenses involved in reviewing assignments.

ENG 308-001 | TR 3:30–4:45
Grant and Proposal Writing
Sarah Hallenbeck
In Grant and Proposal Writing you will be introduced to the practical, nuts-and-bolts processes of finding funding to make change happen in the world—whether that change involves sustaining a non-profit organization or funding academic research. You will research, compare, and analyze different funding potential sources in order to write effectively on behalf of an area non-profit organization with which we will partner. Additionally, you will conduct an interview with a grant writer or reviewer, reporting your findings to the class to broaden our sense of the ecology of grant and proposal writing, a precise and useful form of writing that will benefit you no matter where your future leads you.

ENG 309-001 | TR 9:30–10:45
Technical Editing
Colleen Reilly
Students in this course develop strategies to improve documents and to explain their plans for revisions orally and in writing. In the process, students acquire proficiencies in the conventions of English grammar, punctuation, and usage. Students work on the fundamentals of effective writing, organization, and design to develop the knowledge and skills necessary to edit technical documents, which include forms, manuals, policy handbooks, and websites, and to argue successfully for the changes they make or recommend. Projects prompt students to edit documents comprehensively, addressing the clarity of sentences, overall structure and organization, and visual design.

ENG 312-001 | MW 3:30–4:45
Writing for Business
Anirban Ray
Why enroll in Writing for Business? What do you want, my sixty-second or six-volume answer? You’re right—it depends on how much and what you want to know. Writing for Business is precisely about finding how much your audience in workplace wants and how they want it. It is less about what you know and want to tell and more about what someone else wants to hear. In this sense, the course marks a transition from academic to professional/workplace writing in four major ways:

- Action-oriented: writing that influences actions in your audience
- Collaborative: writing situations will invite you to work in groups to meet real-life workplace challenges
- Genre-orientated: writing that spans across communication channels—memos, resumes, reports, and proposals (traditional); Twitter, podcasts, Wikis, and blogs for business
- Strategic: writing that utilizes various organizational techniques in the writing process

These features will help you to realize and identify the basic goals and objectives of ‘another’ kind of writing that exists when you’re ready to explore the professional space. You will learn to separate between two very important skills in writing: creative and critical skills. According to Peter Elbow, an eminent theorist, we need creative skills to generate ideas, topics, sentences, and words while require critical skills to decide which ones to use. Most often writers are unable to separate the two skills and create miscommunications in reports, proposals, and even in regular emails. Some of the areas we will cover include creating social media resume, writing persuasive messages, and developing social media marketing skills.

ENG 313-001 | TR 12:30–1:45
Writing for Sciences
Ian Weaver
This course provides a foundation for communicating science to the public. Applying perspectives from rhetoric of science, technical communication, and science and technology studies (STS), students will practice rhetorical strategies and learn relevant research skills to rewrite scientific and technical information for a variety of audiences. Extra attention is paid to how writing and texts act rhetorically as tools of knowledge-making rather than simple “products” of science. Students exit the course with foundational knowledge that will allow them to develop and strengthen their own professional science writing practices, especially as it relates to writing for public audiences.

ENG 314-001 | MW 2:00–3:15
Digital Composing
Lance Cummings
In this writing course, you will explore ways in which writing practices are changing in light of emerging digital technologies and their online and networked environments. Recognizing that the act of writing can no longer be confined to the production of printed words alone, you will engage in the analysis and production of digital multimodal texts that blend alphabetic, visual, and aural components for online audiences. You will learn key rhetorical concepts (e.g., argument, arrangement, appeals, audience, context, delivery, invention) which can guide both the reading and writing of digital multimodal texts for specific online audiences. Due to the digital nature of this course, you will be required to experiment with various emerging Web 2.0 technologies and digital design software and will be held in a laptop classroom. You should have access to an up-to-date personal computer (preferably a laptop). This course also includes an applied learning project where you will collaboratively produce a multimodal text for a local museum as the capstone project for the course. We will explore the process of developing a large multimodal text by focusing each project around a particular rhetorical mode and the world of museum texts.

ENG 316-001 | TR 12:30–1:45
Analyzing Style
Donald Bushman
An analytical writing course concerned with about other writers’ styles, in order to be able to speak with specificity about what makes an effective prose style. We will apply grammatical and stylistic concepts to written texts, and we will look in detail at the prose style of various authors, both contemporary and historical, both literary and non-literary. Required will be several written analyses and a final project. Texts include: Corbett and Connors, Style and Statement; Hale and Gordon, Sin and Syntax.

ENG 320-001 | TR 8:00–9:15
ENG 320-002 | TR 9:30–10:45
Introduction to Linguistics
Addie China
This course will introduce students to the basics of linguistics, the study of human language, with an emphasis on applying linguistics in the everyday world.  We will explore such topics as language structure, language variation, language, gender, and sexuality, and language change, with an emphasis on digital communicative practices.  Students will interact with several types of language data and will have the opportunity to connect linguistics to their own personal interests and areas of study.

ENG 321-001 | W 3:30–6:15
Structure of the English Language
Dan Noland
In this course you will become an expert in the metalanguage of the structures of English, beginning with those phonological and morphological, but most particularly the syntactic ones. You have been a master of most of those structures since early childhood; we need to concentrate on making this knowledge conscious, giving you the ability to describe what you know and making predictions based on that knowledge. In addition, some of the structures that we deal with may be new to you. This deeper understanding of your language should carry over into several related areas, and learning how to apply syntax to your own interests is one of your responsibilities. You need no special linguistic training to succeed. Text: Lobeck and Denham, Navigating English Grammar.

ENG 332-001 | TR 3:30–4:45
Shakespeare’s Early Plays and Poems
Mike Wentworth
"The answer to the question 'Why Shakespeare?' must be 'Who else is there?'"
—Harold Bloom

"With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise as entirely as I despise Shakespeare when I measure my mind against his. It would be a positive relief to dig him up and throw stones at him."
—George Bernard Shaw

"I know not whether Bacon wrote the works of Shakespeare, but if he did not it seems to me that he missed the opportunity of his life."
—James Barrie

"He was not of an age, but for all time!"
—Ben Jonson

"Shakespeare was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul. He was naturally learned; he needed not the spectacles of books to read nature; he looked inwards, and found her there."
—John Dryden

"To know the force of human genius we should read Shakespeare; to see the insignificance of human learning, we may study his commentators."
—William Hazlitt

"The remarkable thing about Shakespeare is that he really is very good, in spite of all the people who say he is very good."
—Robert Graves

The above compilation is but a random sampling of testimonials to Shakespeare's genius, achievement, and enduring influence over the ages. One of the truly amazing aspects of Shakespeare's reputation and popularity is that he has both literally and figuratively "held the stage" during his own career as a professional dramatist and over succeeding centuries up to the present. In terms of the established literary canon, and no disparagement intended, Shakespeare is probably the ultimate "dead white guy," and like the "energizer bunny," he just keeps on going and going and going with no end in sight. Not bad for a small-town kid from the provinces who, without the benefit of a college education, left Stratford-upon-Avon (a village of approximately 1500) to try his luck as an aspiring playwright in London. So how do we account for Shakespeare's enduring status as one of the most prominent figures in world literature and his complementary status as the most famous and the most widely read playwright in the English language whose plays are still performed on a regular basis throughout the world?

That's where our course, the focus of which is Shakespeare's early dramatic and poetic career through 1600 (admittedly, a rather arbitrary date), comes into play. Through a careful reading and discussion of seven of Shakespeare's "early" plays, we will attempt to explore and identify the basis for Shakespeare's enduring legacy, influence, and pervasive iconographical status across cultures and continents. At the same time, and more importantly, our course will provide us (and I include myself in your good company) with the opportunity to negotiate and transact our own personal and critical response to each of the assigned plays and, quite aside from the authoritative assessments of Ben Jonson, John Dryden, William Hazlitt, Robert Graves, and others, to arrive at our own measured assessment of Shakespeare's "greatness." In terms of the written texts, this can be a daunting enterprise for the modern reader, who may feel challenged by Shakespeare's language, versification, and a likely unfamiliarity with the many topical, mythological, Biblical, historical, and political allusions in his plays. However daunting, such challenges shouldn't interfere with our enjoyment, appreciation, and larger, "holistic" understanding of the plays themselves. It is worth noting, in this regard, that whatever his eye toward posterity, Shakespeare was a professional dramatist whose livelihood and income depended upon his productivity and the popular reception of his plays on stage. Thus, Peggy O'Brien (the Head of Education at the Folger Shakespeare Library in Washington, D.C.) has observed: "Shakespeare's plays were written to be performed-acted and seen on a stage. About half of Shakespeare's plays weren't even published until after his death. . . . Shakespeare wrote his sonnets to be applauded and remembered as a writer. He wrote his plays to make money. And he made lots of it." It is also important to recognize that the popular theater was one of the primary venues of entertainment on every social level and across class lines during Shakespeare's career as a dramatist. As O'Brien further observes,

Everyone—all levels of society—went to see Shakespeare's plays. There weren't many other forms of entertainment: no TV; no cable; no DVDs; no videos, hand-held electronic game players, or personal CD players; no CDs; no movies; and only the rudiments of a newspaper. People went to the bear-baiting or bull-baiting ring for a thrill, they went to a public execution or two—and they went to the theater. Experiencing a play in the Globe Theatre in 1603 was sort of a cross between going to an Oscar de la Hoya fight and an 'N Sync concert.

Thus, though his plays may present any number of challenges for the modern reader, Shakespeare didn't write his plays to be difficult; he wrote his plays to make money and, as Peggy O'Brien notes, he clearly succeeded. Thus, while our course will involve an assiduous, thoughtful, and creative attention to the written texts, we need to recall, once again, that for Shakespeare the written text was secondary to the dramatic presentation and live enactment of the text on stage-which, rather than the written text, served as the primary "rate of exchange" between Shakespeare and his audience, a considerable percentage of whom were uneducated and illiterate. It might be appropriate to conclude, in this regard, with a number of illuminating quotes, the spirit of which should inform our approach to and experience of the assigned plays:

"In Shakespeare's plays, you find drunks, ghosts, teenagers running away from home, boy who gets girl, boy who loses girl, king who loses everything, woman caressing her lover's body which is minus its head, woman caressing her lover's head which is minus its body, weddings and celebrations, murder by stabbing, suffocation, decapitation, and drowning in a vat of malmsey wine."
—Peggy O'Brien

"There are some parts of the play you'll never understand. But excuse me, I thought that's what great art was supposed to be about. Don't freak out over it. Keep reading."
—Peter Sellers

"I went to see a Shakespeare play when I was 15, and it changed my life."
—Kenneth Branagh

"If the public likes you, you're good. Shakespeare was a common down-to-earth writer in his day."
—Mickey Spillane

Note: Mickey Spillane was a legendary pulp fiction writer, whose hard-boiled detective series (featuring Mike Hammer) enjoyed such immense popularity in the 1950s that Spillane was the most widely read and best-selling author in the U.S. Hence, the implied, and admittedly self-flattering connection with Shakespeare.

"Children trust Shakespeare because they can still see the plays as play, with all the joy and wonder of discovery that this truly entails."
—Janet Field-Pickering, The Folger Shakespeare Library

One final note regarding the choice of assigned plays: There is a common pedagogical practice in courses dealing with Shakespeare's "early career" to chart his development as a dramatist by beginning with his very first or very early comedies, tragedies, and history plays as an introductory point of reference. While there is something to be said for such an approach, the downside is that such an approach—given the restricted time frame for the course—necessarily eliminates any number of Shakespeare's more mature achievements within various dramatic genres. Thus, the reading syllabus for our course will focus on five of Shakespeare's major comedies from the 1590s and two of his major history plays. As a matter of variety, the assigned comedies and history plays will be arranged in alternating order. Though the greater number of Shakespeare's tragedies, including Hamlet, Macbeth, Othello, and King Lear, were written beyond the time frame of our course, Shakespeare did write two notable tragedies (Julius Caesar and Romeo and Juliet) before 1600; but since both tragedies are often taught in the secondary English classroom, they haven't been included in our reading syllabus. So welcome aboard and I look forward to an enjoyable, invigorating semester. Text: Bevington, ed., The Necessary Shakespeare.

ENG 350-001 | TR 2:00–3:15
American Romanticism
Lee Schweninger
This course will offer you an in-depth look at American literature of the Romantic era, roughly 1790s through the 1860s and beyond. We will read the literature by writers of the American literary renaissance, as it has been called, in its literary, historical, political, and social contexts. Possible texts include Dickinson’s Final Harvest collection of poetry, Whitman’s Leaves of Grass, Thoreau’s Walden, Melville’s Moby-Dick, Hawthorne’s The Scarlet Letter. Other authors will include Poe, Irving, Stowe, and Emerson, to name a few.

You will be asked to keep an informal reading response journal, to write formal short response essays, to be responsible for the readings and class discussions, to take occasional reading quizzes and mid-semester and final essay exams. You will also be asked to lead at least one class discussion. As this will be a discussion-based class, attendance and attention to the readings will of course be required. Within the major, this course can satisfy the "Literature before 1900" requirement as well as three (3) hours at the 300-level.

ENG 362-001 | TR 11:00–12:15
Studies in the Novel: Novel Disturbances
Mark Boren
This course explores the notions and defines the aesthetics of “madness” in novels from the late eighteenth century to the present, with a strong focus on the stylization of madness in the twentieth century. The selections describe a trajectory of cultural fascination with mental and behavioral aberration, the maturation and commercialization of a literature of madness and mad characters, often written by authors popularly believed to be at least momentarily “insane.” In addition to discovering the nature of the “disturbance” at work in each of these texts, we’ll seek insight into how these works define cultural “normalcy.” Warning: this course will at times deal with mature themes, and some of the texts contain depictions of graphic violence and sexuality.

ENG 373-001 | M 3:30–6:15
Women’s Literary Traditions: Femininity, Romance, and Negotiating Boundaries
Katherine Montwieler
Love, money, sex, beauty, violence, play, politics, bodily autonomy, silencing, and raising our voices—in this course on women’s literature, we’ll read classic canonical novels by Jane Austen, contemporary re-tellings by Jo Baker, Anne Cherian, and Curtis Sittenfeld, and new novels by Elizabeth Strout, Jessmyn Ward, and Kathleen Flynn as we explore how issues have changed and stayed the same for women over the past three hundred years. Our reading list will cross centuries as we look particularly at representations of sexuality, gender, and romance and consider the novel’s relationship to speaking out, building empathy, and quietly creating a revolutionary community of readers who find themselves acknowledging, “yes, me, too,” as they turn pages. This course serves as an elective for the WGS minor and satisfies the Living in Our Diverse Nation requirement.

ENG 382-001 | TR 3:30–4:45
Ways of Teaching Literature
Michelle Manning
You spend time getting a major, but how do you take all that cumulative knowledge gained as a student and translate that knowledge into teaching others? Although part of the teacher licensure program, this course is open to all majors, teaching students of any level or subject, the focus will be on how to use literature to support your subject area. This course provides practical strategies and approaches to prepare anyone who plans to teach—or wonders about teaching—with survival skills. This course is not a literature course. Instead the focus will be on how to use intertexuality, multiple literary perspectives, and other strategies to help you transition from student to teacher.

ENG 386-001 | TR 2:00–3:15
Critical Theory and Practice
Nick Laudadio
In this class, we will be exploring the influence that critical and cultural theory has had on the ways we understand literature and culture in the 21st century. Beginning in the late 19th and moving through to the present, we will read a broad array of challenging texts that will help us better understand most of the “-isms” we hear so much about—Marxism, structuralism, feminism—as well as many other theoretical approaches to understanding how we humans make things mean things. This is a difficult class, though if you keep up with the reading, note taking, and class discussion, I think you might find it to be a rewarding one. There will be regular reading notes, a midterm, a bibliography, and a final essay.

ENG 389-001 | MW 3:30–4:45
Rhetorical Theory since 1900
Don Bushman
A course surveying the major rhetorical theorists of the past century within their historical moments. We’ll read both primary texts by those theorists and commentaries about them in order to better understand the relationship they espouse between discourse and the material world. We’ll consider rhetoric’s relationship to other fields of study as well as to the contemporary concerns of the day, such as politics, popular culture, science and technology, and so on. Required text: Golden, et al. The Rhetoric of Western Thought.

ENG 393-001 | TR 11:00–12:15
Writing in Scientific Disciplines
Ian Weaver
This course critically examines the current state of science writing in professional academic contexts and explores the multiple practical strategies scientists use to communicate in professional settings. The course asks students to evaluate and propose best practices for texts in academic contexts such as peer-reviewed journals and professional conferences. Extra attention is paid to how writing and texts act rhetorically as tools of knowledge making rather than simple “products” of science. Students exit the course with a base of knowledge that will allow them to develop and strengthen their own professional science writing practices.

ENG 495-001 | TR 12:30–1:45
Senior Seminar: Jack London
Keith Newlin
This seminar will examine the work and life of an icon of American literature. At Jack London's birth in 1876, no one would have predicted his later success. Born out of wedlock and spending much of his early life in poverty and delinquency, London largely educated himself to become one of the world’s most popular and most highly paid writers, in the process living an adventurous life that captivated the public’s imagination. He sailed on a sealing schooner, prospected for gold in the Klondike, ran for mayor as a socialist when only 25, risked his life investigating London’s slums, covered the Russo-Japanese war, built his own yacht in an aborted attempt to sail around the world, and later became a successful California rancher. In only 18 years, London published 50 books and more than 500 magazine pieces, the fruit of his self-imposed regimen of writing 1,000 words each day—no matter what he was doing. Beginning with the short stories that made him famous, this course will examine the development of a writer whose life and work have never ceased to amaze readers. Texts include The Portable Jack London, The Call of the Wild and White Fang, The Sea-Wolf, Martin Eden.

ENG 496-001 | TR 2:00–3:15
Senior Seminar in Writing and Rhetoric: Privacy, Surveillance, and Data Security in Digital Spaces
Colleen Reilly
In digital spaces, individuals are continually tracked and surveilled; the data gathered is leveraged by commercial interests for financial gain and by governments and other institutions for monitoring and control. Students in this course will learn critical digital literacies needed to comprehend, trace, and resist this ubiquitous digital surveillance. Through a number of research-based assignments that make use of freely available applications, students become aware of and manipulate the data-gathering practices that affect them when they are working, shopping, communicating, and recreating online. This course is designed to empower students to use digital tools through a critical lens, increase their skepticism of the information they locate online, and use the available applications to understand, control, and even reduce the degree of surveillance to which they are subjected. Students can use the knowledge they gain to advocate for policies and laws that protect them as individuals, citizens, and future members of organizations and institutions.