This pamphlet contains information submitted by the teaching faculty of the Department of English, SIUC, to inform students about courses being offered. The format for each course/section description is as follows:

•  Course number and title

•  Texts (if no texts appear, they will be announced later)

•  Course objectives

•  General comments about assignments and grades

•  Course procedures

The English Department Writing Centers (located in Faner 2281, Lentz Hall Learning Resource Center , Morris Library 103i, and Trueblood Hall Learning Resource Center ) provide resources for all SIUC students who want to improve their ability as writers. Students may be seen at any of the four Centers for single-visit appointments, which can be made two days in advance, or for regular weekly appointments, which continue for as much of the semester as the student wishes. There is no charge for these visits. The staff of the Centers are graduate and undergraduate students trained in effective one-to-one teaching strategies. For more information, check out our website www.siu.edu/~write or contact: Dr. Jane Cogie, Director, Writing Center , Faner 2281, 453-6863.

For explicit information on prerequisites, students should consult the Undergraduate Catalog.

For further information, please contact the Department of English.

ENGLISH 100 BASIC WRITING Director of Writing Studies

Required Texts:

To be announced.

Designed for students who want extra help with their writing, this course teaches the processes and strategies students will need to succeed in English 101, 102, and at the University. Students in the course will be given many opportunities to draft, edit, and revise their writing; to discuss their writing with their instructor and peers; to address their specific writing needs; and to develop the confidence and enthusiasm for writing that can lead to success in future courses in which writing may be required. Some class discussion and readings focus on the function and scope of language and communication in personal contexts.

English 100 is the first course in SIUC's Stretch Program. The Stretch Program is designed to help students develop the writing skills they will need to successfully complete the English Composition requirement and excel at the University. In the Stretch Program, students take English 100 and English 101 in consecutive semesters with the same instructor, using the same primary textbook for both courses and following a carefully sequenced curriculum. This allows both the instructor and student to spend time addressing specific writing needs at a pace and in a sequence that will help students become better writers and readers. English 100 is offered for degree credit (3 hours). English 101 and 102 also count as credit toward the Core Curriculum requirement.

Placement in English 100

All students in English 100 will be given a diagnostic essay test on the first day of class. The essay will be scored, and the results will be used to advise students whether to remain in English 100/Stretch Program or enroll in an English 101 course. For further information, please review “The Student's Guide to Directed Self-Placement and the English 100/Stretch Program,” which will also help you decide whether English 100 is the proper course with which to begin the English Composition sequence.

Student Learning Objectives

In English 100, students will become familiar with the writing demands of English 101 and of the University; learn useful methods for producing and interpreting a variety of texts of familiar and interesting subjects; learn processes for inventing and elaborating ideas, for shaping them into purposeful and successful writing, for revising, and for editing; learn strategies for effectively developing and organizing sentences and paragraphs; begin to appreciate, through dialogue and reflection, the important role of language and communication in the students' own writing and reading, in college, and in the world; learn the appropriate use of Edited American English.

Coursework

Four Writing Projects 70% of course grade

Each involves invention, drafting, revising, and editing.

Writer's Notebook 20%

The notebook may include responses to readings, practice with invention and style, peer responses, and a variety of other types of writing that exercise students' abilities to write clearly and analytically and to read and think critically.

Final Examination 10%

Students will have two hours to write an essay on a topic to be announced.

ENGLISH 101 ENGLISH COMPOSITION I Director of Writing Studies

Required Texts:

To be announced.

Composition I provides students with the rhetorical foundations that prepare them for the demands of academic and professional writing. In this course, students will learn and employ the strategies and processes that good writers use whenever they try to accomplish a specific purpose. In college, these purposes include comprehension, instruction, entertainment, persuasion, investigation, problem-resolution, evaluation, explanation, and refutation. Each purpose can be addressed through impromptu writing, short-preparation writing, and long-term writing projects. In addition to preparing students for academic communication, this core curriculum course prepares students to use writing to realize professional and personal goals. Therefore, class discussion and readings will address the function of rhetoric and of the composing process in a variety of contexts. To foster effective communication, the course will train students in the critical discussion of communication, and during the semester, each student will learn to respond effectively to other authors' writing and to use responses to their own writing as part of the composing process.

Placement in English 101

To qualify for placement in English 101, students must have completed English 100 with a C or better or have elected to enroll in the course after reviewing the guidelines for Directed Self-Placement. In addition, all students in English 101 will be given a diagnostic essay test on the first day of class. The essay will be scored, and the results will be used to advise students whether to remain in English 101 or enroll in the English 100/101 Stretch Program, a two-semester sequence designed to help students develop the writing skills they will need to satisfy the English Composition requirement and to succeed in future courses that require writing and reading. For further information, students should review “The Student's Guide to Directed Self-Placement and the English 100/Stretch Program,” which will also help students identify the introductory composition course that corresponds to their interest in, training in, and facility with critical reading and writing. This information is available on the Internet at http://www.siu.edu/departments/english/writing/index.html , from your instructor, or from the Writing Studies office in Faner 2390.

Course Goals

After taking English 101, students should be able to generate good writing using various methods for critical thought, for the development of ideas, for the arrangement of those ideas to achieve a specific rhetorical goal, for the application of an appropriate style, and for revision and editing; demonstrate understanding of the ways that language and communication shape experience, construct meaning, and foster community; analyze and describe rhetorical contexts and use such descriptions to increase the efficacy of communicative acts; analyze and use the forms and conventions of academic writing, particularly the forms and conventions of argumentative and analytical writing; produce texts that demonstrate an understanding of how purpose, process, subject matter, form, style, tone and diction are shaped by particular audiences and by specific communicative constraints and opportunities; understand the importance of research to writing, explain the kind of research required by different kinds of writing, and compose effective texts by judiciously using field research, library resources, and sources retrieved from electronic media; employ critical reading and listening as a form of invention, efficiently compose reading and lecture notes that are concise and clear, synthesize different and divergent information, and use the integration of information from multiple sources to engage in critical discourse; use Edited American English appropriately.

Coursework

Six Writing Projects 60%

Students will submit each writing project at the end of a course unit, and each unit will require students to engage in a composition process that comprises invention, planning, drafting, peer-review, and revision and editing. Each writing project must be submitted to the instructor as a typed or computer-generated document and kept as an electronic document (in the file format that the instructor requests.)

Writer's Notebook 25%

Students will regularly compose small texts in class and out of class in order to improve their reading and writing and to prepare the six writing projects. Regular small writing will include summaries of and responses to readings, short-answer questions, reading and rhetoric quizzes, and modeling exercises. The composing process for the writing projects will require invention exercises, rough plans, drafts, and peer-reviews. As students will write in class every day, a portion of this notebook grade will contribute to the class-participation grade.

Two Tests 15%

During the semester, students will take one test during a class period and a two-hour final examination. The topics will be announced by the instructor prior to the tests, which will require students to employ the critical reading and writing strategies that they have developed in the course, to explain rhetorical concepts, and to evidence an understanding of some of the conventions of academic writing (such as attribution and bibliographic formats).

ENGLISH 102 ENGLISH COMPOSITION II Director of Writing Studies

Required Texts:

To be announced.

English Composition II prepares students to become better writers and readers at the college level. The course introduces students to the complex demands of academic literacy and trains students to respond to those demands successfully. Successful academic reading and writing requires the critical observation and production of personal and public knowledge. Students will study and perform such observation and production through (1) inquisitive reading and research, (2) the formulation of hypotheses and research designs and the use of these designs to test hypotheses, (3) the identification of new approaches to inquiry, and (4) the persuasive communication of discoveries. To ensure that students can contribute to this kind of academic discourse, English Composition II teaches students approaches to summary, paraphrase, analysis, interpretation, critical thinking, and documentation. Some class discussion and readings focus on the function and scope of language and communication in a variety of academic contexts.

Course Goals

English Composition II reinforces the rhetorical foundations that students acquired in English Composition I and uses these foundations to improve students' academic discourse. After taking English Composition II, students will be able to use an understanding of ethos, audience, subject matter, process, and context to identify and achieve complex rhetorical goals; engage in critical reading by applying various analytical techniques; conduct attentive and inquisitive library and field research; explain and employ the methods of argumentation and analysis valued in academic contexts; understand and use Edited American English and appropriate forms of documentation.

Coursework

Four Writing Projects 65%

Students will submit each writing project at the end of a course unit. In each unit, students will engage in a composition process that comprises invention, planning, drafting, peer-review, and revision and editing. Each writing project must be submitted to the instructor as a typed or computer-generated document and kept as an electronic document (in the file format that the instructor requests).

Writer's Notebook 20%

Students will regularly compose small texts and preliminary texts in class and out of class in order to improve their reading and writing and to prepare the four writing projects. The notebook may include responses to readings, practice with invention and style, peer responses, and other kinds of writing and research that exercise students' abilities to read and think critically and write clearly and analytically.

Two Tests 15%

During the semester, students will take one test during a class period and a two-hour final examination. The topics will be announced by the instructor prior to the tests, which will require students to employ the critical reading and writing strategies that they have developed in the course, to explain rhetorical concepts, and to evidence an understanding of the conventions of academic writing.

ENGLISH 119 INTRODUCTION TO CREATIVE WRITING Staff

This course offers an introduction to the art and craft of writing poetry and short fiction. Students read and analyze published poetry and fiction, write poems and stories, and read and discuss the work of their classmates.

ENGLISH 120 ADVANCED FRESHMAN COMPOSITION Director of Writing Studies

Required:

Students should check textbook listing for specific sections at the bookstore. 

This course provides an opportunity for students in the top ten percent of the English section of ACT or with the qualifying score on the CLEP to fulfill the six-hour Foundation Skills requirement in Composition with an Advanced Freshman Composition course. The course offers a reading and analysis of five critically important books addressed to the general reader. The books represent the following categories: autobiography; eyewitness reporting; an intellectual discipline; politics and the public good; and a book of fiction. Writing assignments involve rigorous critiques of each of the assigned books.

ENGLISH 121 THE WESTERN LITERARY TRADITION Chairperson, Professor Humphries

Students should check textbook listing for specific sections at the bookstore.

Required Reading :

Sophocles. Oedipus the King . or Plato. Symposium.

The Bible (especially Job, Genesis, and the Gospels).

Dante. The Divine Comedy: The Inferno. or Milton . Paradise Lost .

Cervantes. Don Quixote . (selections) or Chaucer. The Canterbury Tales . (selections).

Shakespeare. Othello. or Henry V. or The Tempest. or Twelfth Night .

Voltaire. Candide. or Austen. Pride and Prejudice .

Romantic verse: Wordsworth, Coleridge, Byron, Shelley, Keats.

Franklin . Autobiography . or Melville. “Billy Budd.”

Kafka. “The Metamorphosis.” or Dostoyevsky. Notes from Underground.

Woolf. A Room of One's Own.

This course promotes an awareness of tradition as something formed and revised within particular historical contexts. As a body of beliefs, premises, and ideas, tradition does not persist through time merely by the inertia of its dead weight. Tradition is a function of intellectual and aesthetic preservation, and literary tradition continues because readers and writers have reasons--both good and bad--to keep it alive. The course readings provide an opportunity to help students develop a rational view of the Western literary tradition by studying a variety of recurrent themes and forms. A few such themes may include innocence and divine justice (or punishment), love and sexuality, forbidden or tragic knowledge, and politics (not the least the politics involved in tradition itself). Formally, the readings can be arranged to pose questions about literary forms: epic, tragedy, comedy, parable, and the novel.

 

ENGLISH 204 LITERARY PERSPECTIVE ON THE MODERN WORLD Staff

Students should check textbook listing for specific sections at the bookstore.

The course begins with a focus upon culture and community and the family because the family is the gauge inevitably used to measure social change. It moves on to gender and ethnicity or the searching examination in this century of the difference between men and women and between persons from contrasting ethnic backgrounds. The course concludes with an examination of the ruptures and disjunctures in the twentieth century caused by political ideologies and conflicts and by the ethical problems raised by advances in technology and science.

ENGLISH 205 THE AMERICAN MOSAIC IN LITERATURE Jackson

Didonato. Christ in Concrete. Penguin.

Erdrich. Beet Queen. Bantam Doubleday Dell.

Jen. Typical American. Penguin.

McCourt. Angela's Ashes. Simon & Schuster.

Morrison. Bluest Eye. Penguin.

Rico. American Mosaic. Houghton-Mifflin.

Villasenor. Rain of Gold. Bantam Doubleday Dell.

The predominant theme for the American Mosaic in Literature is family life, since family life seems at once to isolate and preserve cultural differences and to provide some means, usually through self-discovery, to resolve conflicts arising from these differences in a reconciliation without loss of identity. Course units: First Encounters; Captivity, Slavery -- and Escape; Immigration and City Life; Cultures and Families in Transition.

ENGLISH 290 INTERMEDIATE ANALYTICAL WRITING Director of Writing Studies

Required Text:

Aaron. The Little, Brown Compact Handbook. 5 th ed. Longman, 2004.

Rosenwasser and Stephen. Writing Analytically. 4 th ed. Thomson/Heinle, 2006

Since individual instructors may select a reader, students should check listing for specific sections at the bookstore

Intermediate Analytical Writing is designed for any student who wishes to improve his or her writing skills to meet the demands of academic writing across the disciplines and/or the demands of professions that value careful analysis and communication. The course emphasizes analytical writing, both as means of invention and a form of persuasion. Course readings and assignments will provide students with opportunities to study and practice the rhetorical forms used in their discipline, but attention to the persuasive nature of analysis will teach students the rhetorical foundations necessary for adapting writing to any situation.

Course Goals

After taking Intermediate Analytical Writing, students will be able to investigate, identify, and explain the conventions, purposes, patterns of arrangement, forms of proof, and style appropriate to a particular discipline; analyze and conduct research in various forms; differentiate various analytical techniques and employ them to realize particular rhetorical goals; adapt to the demands of various rhetorical contexts in the students' own disciplines and across disciplines; identify potential for the cross-disciplinary application of rhetorical forms and genres and adapt other disciplines' rhetoric to the students' own discipline; compose texts that are incisive, logical, persuasive, informative, and interesting; use an understanding of style, purpose, form, and situation to compose coherent texts that are characterized by their appealing texture, rhythm, and grade.

Coursework

Four Writing Projects 70%

Students will compose four writing projects (of five to ten pages), including one research-based text. These projects will emerge from a composition process in which students apply analytical techniques to invention, development, and revision. The process will also require students to explore potential applications of the writing projects to their disciplines.

Small Writing Assignments 20%

Students will regularly compose brief texts and preliminary texts in class and out of class to improve their analytical skills and to prepare their writing projects. Regular small writing will include exercises in analysis, critical responses to readings, short-answer questions, and modeling exercises. The composing process for the writing projects will require invention exercises, rough plans, drafts, and peer-reviews. As students will write in class every day, a portion of this notebook grade will contribute to the class-participation grade.

Final Examination 10%

Students will engage in a final examination or project in which they will communicate the results of their analyses of text(s) chosen by the instructor.

 

ENGLISH 291 INTERMEDIATE TECHNICAL WRITING Director of Writing Studies

Required Texts:

Aaron. The Little, Brown Compact Handbook. 4 th ed. Longman, 2001.

Anderson . Technical Communication: A Reader-Centered Approach . 5 th ed. Thomson/Heinle, 2003.

This course provides students with a greater awareness of the demands of professional literacy. Students will assess rhetorical situations (context, purpose, audience and subject matter) that are typical of nonacademic settings, while fostering skills that are essential for academic literacy. Emphasis will be placed on writing as a process with particular focus on making the transition from academic to work world writing tasks: recursive writing, using group conflict for invention, synthesizing research and feedback, and confronting issues of authorship.

Course Goals

In English 291, students will continue with the development of strategies for assessing and integrating the demands of context, purpose, audience and subject matter; write documents that address a variety of audiences; adapt form, style, and tone to enhance credibility; develop strategies for assertive and effective collaboration; analyze and synthesize research from various sources and of different genres; sharpen powers of observation and listening through dictation and interviewing; revise by synthesizing different levels and sources of feedback; develop tools for organization and readability such as visual display; reinforce usage of Edited American English.

Coursework

Five Assignments 50%: Each involves invention, drafting, revising and editing.

In Class Assignments 20%: Includes assessing rhetorical situations, dictation, and responses to readings.

Collaborative Project 20%

Final Examination 10%

Students will have two hours to demonstrate their knowledge by choosing from a list of rhetorical situations, assessing the situation, and chronicling the process an individual or group would go through to produce the appropriate, final document.

 

ENGLISH 300 INTRODUCTION TO LANGUAGE ANALYSIS Costello, C.

Morenberg. Doing Grammar. 3 rd ed. Oxford University Press, 2002.

Majorie and Gay. Words into Type. 3 rd ed. Prentice Hall, 1974.

Reserve Readings at Morris Library and on WebCT site

English 300 is concerned with the nature of language and linguistic inquiry. The course will begin with a brief review of the evolution and historical context of English. A general linguistic introduction will follow, which will include material on semantics, syntax, morphology, phonology and dialectic variation. A strong emphasis will be placed on critical thinking skills, including recognition of the various purposes for which language is decoded, and the various ways that society, culture, economics and politics impact our language use. Concurrently, the students will study elements of grammar and usage in Edited American English and practice using this understanding to revise and edit text.

Because teacher-training candidates must take this course, the course will contain both theoretical and applied pedagogical components. Since the ability to teach a subject requires a developed understanding of that subject, all students enrolled in this course will engage in these pedagogical activities. During the semester, students will be expected to engage in collaborative instruction and to develop and present their own “grammar lessons.” This instructional practice will culminate in an individual age-level-appropriate “teaching portfolio/textbook” of student-created and adapted materials. These textbooks can be modified to reflect students' interest. For example, in addition to the required elements of the portfolio, there are several optional assignments. Creative writing students might choose to look at elements of language via reflective essays, poetry, and fiction. Students of literature might work on a stylistic and/or grammatical analysis of a favorite writer. Your textbook is meant to demonstrate your understanding and application of the content of the class – and to position yourself as a co-creator of language among others.

Requirements:

Course Portfolio, including a short research paper

Regular quizzes, exercises, and response writing

Midterm and Final  

ENGLISH 301 INTRODUCTION TO LITERARY ANALYSIS Professors Boulukos, Dougherty, McEathron, and Wells

Required of all English majors, English 301 is intended to be one of the first English courses a student takes. The emphasis is on writing based upon intensive rather than extensive reading, although selections are drawn from several major genres (poetry, fiction, drama, non-fiction).

Students are introduced to basic terms and concepts of literary study and to different ways of approaching literary texts. Students are required to write and revise at least seven papers of various kinds, including a documented research paper.

Boulukos's section (Section 4):

Required Texts:

Plato. Symposium and Phaedrus. Dover Thrift Editions. Dover .

Boccaccio. The Decameron. Ed. and Trans. Musa, Bondanella, Signet. Penguin.

Shakespeare's Sonnets. Folger Shakespeare Library.

Great Love Poems. Ed.Weller. Dover Thrift Editions. Dover .

De Lafayette. The Princess of Cleves . Norton Critical Editions. W. W. Norton.

Austen. Emma. Ed. Duckworth. Bedford/St. Martin's.

Wilde. The Importance of Being Earnest. Dover Thrift Editions. Dover .

Jin. Waiting. Vintage. Random House.

We will also consider films throughout the semester, including Emma, Clueless, The Importance of Being Earnest, and a classic Hollywood screwball comedy.

Please Note: Although I recommend all of these editions, the edition of Emma will be indispensable because it will serve as our textbook for learning contemporary critical approaches.

In this class, we will concentrate on developing critical self-awareness and self-confidence, both as readers of literature and as writers. As a class, we will practice careful critical reading, on the texts and on one another's work; our goal will be to develop the habit of applying these skills to our own writing automatically. We will also study, and apply to our texts, several major critical theories. This, together with the historically (or culturally) distant nature—and the historical sweep—of our texts should help us recognize cultural assumptions (particularly about love, marriage and sexuality) we do not share; this in turn should help us locate similar assumptions in our own thinking. We will look at “love” as an evolving cultural phenomenon, one constructed and altered through language. From this approach, students should gain a sense of the power of language and the importance of using it wisely and well. By the end of the semester, students will have learned to write smart, sophisticated English papers.

Requirements:

4 2-page analytical response papers.

4 assigned papers, each with a draft and revision: Thesis-Driven Close Reading of Poetry, Thesis-Driven Close Reading of Prose Fiction, Theoretical Analysis, Research paper.

Group Presentation of Critical Theory.

Presentation of research.

4 peer critique workshops.

Dougherty's section (Section 2):

 

McEathron's section ( Section 3):

Stevenson. The Strange Case of Dr. Jekyll and Mr. Hyde. Ed. Danahay. Broadview.

Wordsworth. Favorite Poems. Dover .

Wells. The Country of the Blind and other stories. Dover .

---. The Island of Dr. Moreau . Dover .

Hardy. Tess of the d'Urbervilles. Ed. Gatrell and Grindle. Oxford University Press.

Well's section (Section 1):

Bertens. Literary Theory: The Basics . Routledge.

Shakespeare. Hamlet . Bedford/St. Martin's.

Whitehead. The Intuitionist. Anchor Books. Random House.

A Collection of poetry, short stories, and essays, made available through SIUC's electronic reserves

Requirements: Several short papers and 2-3 longer papers, at least one of which will require independent research.

ENGLISH 302A LITERARY HISTORY OF BRITAIN: BEOWULF TO CIVIL WAR , Professor Riedinger and Staff

Required Texts:

Abrams, et al., eds. Norton Anthology of English Literature. Vol. 1A. The Middle Ages (or Medieval Period). 7 th ed. W. W. Norton.

Abrams, et al., eds. Norton Anthology of English Literature. Vol. 1B. The 16 th and Early 17 th Century. 7 th ed. W. W. Norton.

This course surveys British literature from its beginnings through the work of Milton . Emphasis is upon close reading of major works by major authors, although the course also traces the chief lines of literary continuity from the Middle Ages to the Restoration.

Riedinger's section (Section 2):

Requirements: Attendance, informed participation in discussion of assigned readings, three short papers, two hour-examinations and a final. Papers and all examinations are of equal weight in determining course grade.

ENGLISH 302B LITERARY HISTORY OF BRITAIN: RESTORATION TO 1900, Professors Chandler and Collins

This course surveys British literature from 1660 to 1900. Roughly a third of the course is devoted each to Restoration and 18 th- century literature, the Romantics, the Victorians. Emphasis is on an understanding of the literature itself, but students also consider works in relation to their historical eras and their social contexts.

Abrams, et al., eds. The Norton Anthology of English Literature. Vol. 1C, The Restoration and Eighteenth Century. 7 th ed. W. W. Norton.

Abrams, et al., eds. The Norton Anthology of English Literature. Vol. 2A, The Romantic Period. 7 th ed. W. W. Norton.

Abrams, et al., eds. The Norton Anthology of English Literature. Vol. 2B, The Victorian Age. 7 th ed. W. W. Norton.

This course surveys British literature from 1660 to 1900. Roughly a third of the course is devoted each to Restoration and 18 th- century literature, the Romantics, the Victorians. Emphasis is on an understanding of the literature itself, but students also consider works in relation to their historical eras and their social contexts.

Chandler 's section (Section 1 ):

Requirements: 3 short papers; quizzes; midterm and final examinations.

Collins's section (Section 2):

Requirements: Regular attendance, full participation in class discussion, three critical-analytic papers (each around five pages in length), a mid-term examination, and a final examination. There will also be occasional quizzes and in-class writing.

ENGLISH 303 LITERARY HISTORY OF THE UNITED STATES BEFORE 1900, Professor Anthony and Wells

Anthony's section ( Section 2):

Lauter, et al. The Heath Anthology of American Literature, Vol. 1. 5 th ed. Houghton-Mifflin, 2005.

Foster. The Coquette. Oxford University Press, 1986.

Poe. The Fall of the House of Usher and Other Writings. Ed. Galloway. Penguin, 1986.

Twain. Pudd'nhead Wilson . Penguin Classics. Penguin.

Hawthorne . The Scarlet Letter. Ed. Baym. Penguin, 1983.

James. Aspern Papers / The Turn of the Screw. Ed. Curtis. Penguin, 1984.

Melville. Moby-Dick . Penguin Classics, Penguin.

The aim of this course is to provide you with an overview of the ways in which the notion of “ America ” and the concept of American citizenship were constantly being formulated and reformulated within the nation's literature, from the earliest moments of the founding of the new nation to the late nineteenth century. Starting with the basic hypothesis that much of early American literature revolves around the thematics of an individual who transgresses authority, we will attempt to understand how American literature reflects an on-going process whereby state authority is both critiqued and affirmed for reading audiences. Moving from gothic stories about the perils of passion and democracy in the post-revolutionary era; to tales of adultery and slave revolt; to post-Civil War texts about racial detection and ship-board mutiny, we will hear a culture telling itself a story about itself. We will have to decide as a class how to define the exact nature of that story, but suffice it to say that it is one in which individual passion, desire and pleasure combine with guilt, shame and discipline to form the unique and often perverse “American” selfhood evolving under the experiment known as democracy.

Requirements:

There will be one midterm and one final examination. The examinations will test your factual knowledge about the readings, as well as your ability to process your ideas about the major conceptual themes we will cover during the term.

Response Papers:

There are fourteen response papers assigned over the course of the term. The response questions are due on the first day of each week of class. I will count your ten highest scores, which means that you can miss four papers without hurting your overall grade.

Well's section (Section 1):

Topic: Originating America

Lauter, et al. Heath Anthology of American Literature. V ol. 1, 4 th ed., Houghton-Mifflin, 2002.

Where does American literature begin? When and where might we locate its origins, and what's at stake in our doing so? These will be the guiding questions in this section of English 303. We will use them to pursue the central objective that, according to the general course description, English 303 is supposed to satisfy: to “survey American literature from its beginning to the end of the nineteenth century.” Yet instead of accepting that there exists such a thing as a universally agreed upon “beginning” of American literature, we will consider several possibilities—Plymouth Rock, Jamestown, New Orleans, and Hispaniola, for example—and move through several miniature literary surveys that might be said to “originate” from that spot. What kinds of writers, texts, and themes emerge when we provide American literature a particular point of origin? What kinds are excluded or marginalized when we do so, and can we recover these lost voices by locating other points of origin for American literature?

Most of our readings will come from the Heath Anthology of American Literature (vol. 1, 4 th ed.). Graded work is likely to include 2-3 examinations, 2 short (4-5pp.) papers, attendance, and active participation in class discussions.

 

ENGLISH 305 LITERARY HISTORY OF BRITAIN AND THE UNITED STATES: 1900 TO PRESENT Professors Molino and Bogumil

This course surveys literature in America and Great Britain from the beginning of the twentieth century to the present including the writings of women and minority and ethnic groups with an emphasis on comparing and contrasting significant writers in both countries and on the distinction between modernist works and postmodernist texts.

Bogumil's sections:

Sections 2 & 3

Conrad. The Heart of Darkness. Dover .

World War One British Poets. Dover .

Woolf. Mrs. Dalloway. Harcourt.

McPherson. Dublin Carol. Dramatists Play Service.

James. The Turn of the Screw. Dover .

Faulkner. The Sound and the Fury. Vintage. Random House.

Wilson . Two Trains Running. Samuel French.

Shepard. True West. Samuel French.

Mamet. Oleanna. Dramatists Play Service.

Requirements: 8 critical analyses (5 pages plus/ 10 pts. ea./ total 80 pts); 2 tests (quotation identification and explication/ 20 quotations worth 5 pts. ea/ 100 pts. per test/ total 200 pts.) Class participation is appreciated.

Molino's section:

Section 1

Yeats. Easter, 1916 and Other Poems. Dover .

Eliot. The Waste Land and Other Poems. Dover .

Faulkner. The Sound and the Fury. Vintage. Random House.

Joyce. A Portrait of the Artist as a Young Man. Signet. Penguin.

Mukherjee. Jasmine. Grove.

Ng. Bone. HarperCollins.

Ishiguro. A Pale View of Hills. Random House.

Smith. White Teeth. Random House.

equirements: four exams and several short essays on assigned readings.  

ENGLISH 307I FILM AS LITERARY ART Professor Williams

A critical introduction to some of the most influential and representative works in the study of World Cinema as an historical and artistic tradition. Specifically, this course studies cinema in relationship to the literary world from which film has emerged. Course screenings and readings are designed to give the student an awareness of the Cinema's claims as a unique art form, but also as Cinema is connected to significant movements in literature. The course will concentrate upon relevant movements in western mainstream narrative Cinema in comparison to the major historical achievements in Asian and Third World Cinema. The primary intention of the class is to stimulate students to engage in critical readings of films. Representative course topics: Early Cinema; French Impressionism and German Expressionism; Silent Hollywood; American Cinema 1930s-1945; Italian Neorealism; French New Wave; and Political Cinema in the West.

This course changes its emphasis periodically, but the common feature of the last two years has involved the question of film authorship in relation to the American cultural tradition. It is not a literature into film adaptation class whereby films are selected to illustrate the supposed “superiority” of the novel but rather one which examines the complex relationship film has to literature and culture in terms of relevant factors of history and industry.

Required texts:

Welles & Bogdanovich. This is Orson Welles. Ed. Rosenbaum. DaCapo Press, Inc.

Naremore. The Magic World of Orson Welles. Southern Methodist University Press.

Corrigan. A Short Guide to Writing About Film. 5th ed. Addison Wesley Longman.

As a core curriculum “Film as Literary Art” course, the cinema of Orson Welles is ideally suited for inclusion in the Spring semester slot. As a twentieth century renaissance man, Welles's talent encompassed the diverse worlds of literature, theater, acting, television, and film direction. As well as screening his acknowledged masterpieces such as Citizen Kane and Touch of Evil , the class will examine his various Shakespeare adaptations such as Macbeth, Othello, King Lear, and The Chimes at Midnight as well as Welles's affinity to many national cinematic styles and movements such as “film noir.”

One particular emphasis of this class will be on the formative period of the New Deal Federal Theatre productions which offered Welles the opportunity to stage various classics such as voodoo Macbeth and the modern dress version of Julius Caesar as well as the Mercury Theatre radio productions, several of which (such as Heart of Darkness and The Magnificent Ambersons ) are very relevant to his later film productions.

This class will meet weekly with evaluations based upon written papers and regular class attendance.

ENGLISH 325 BLACK AMERICAN WRITERS Professor Fox

McKay. Banjo. Harvest. Harcourt Brace.

Hurston. Moses, Man of the Mountain. Perennial. HarperCollins.

Reed. The Last Days of Louisiana Red. Dalkey Archive Press.

Wilson . Seven Guitars. Plume. Penguin.

Wideman. Philadelphia Fire. Vintage. Random House.

Harper, ed. Every Shut Eye Ain't Asleep. Little, Brown

Shange. Sassafrass, Cypress and Indigo. Picador. St. Martin 's Press.

The course will engage in a detailed examination of some important works of African American literature in a variety of genres.

Requirements:

Regular attendance and conscientious participation.

Two essays (60% of final grade)

Midterm and final examinations (40% of grade).

ENGLISH 352 FORMS OF POETRY Professor Magnuson

   

ENGLISH 365 SHAKESPEARE Staff

This course offers an introduction to Shakespeare through study and appreciation of six of his major plays. Along with an examination of staging and performance of the plays in films, lectures and discussions invite the students to measure their contemporary experience of plays against their literary and historical backgrounds.

ENGLISH 381A CREATIVE WRITING: BEGINNING FICTION Skaggs and Costello, J.

Charters. The Story and Its Writer: An Introduction to Short Fiction. Compact 6 th ed. Bedford/St. Martin's.

This is the first fiction workshop in a series intended for majors in Creative Writing.

J. Costello's section:

Section 1

Students will be expected to read and respond to literature with careful attention focused on craft, language, and form. Students will read and critique established writers and apply the critical skills gained to their own creative writing. In addition to completing several writing exercises to strengthen their abilities within specific elements of the craft of fiction (point of view, scene, dialogue, etc.), students will be expected to write two complete short stories, one revision and participate in both written and oral workshops with the class.

Skaggs's sections:

Sections 2 & 3

Students will be expected to read and respond to literature with careful attention focused on craft, language, and form. In addition to the study of established writers, the students will complete several writing exercises to strengthen their abilities within specific elements of the craft of fiction (point of view, scene, dialogue, etc.). Later in the semester, students will be expected to write one complete story and participate in a workshop with the class.

ENGLISH 381B CREATIVE WRITING: INTERMEDIATE FICTION Costell, J. and Westmoreland

J. Costello's section:

Section 1

Charters. The Story and Its Writer. Compact 6 th edition. Bedford/St. Martin's.

Intermediate Fiction Writing continues the development of the art and craft of fiction writing, concentrating on attention to language and the forms of contemporary and classic short stories. Students will read and critique established writers and apply the critical skills gained to their own creative writing. In addition to completing several short writing exercises throughout the semester, students will be expected to write two or three short stories, two revisions, and participate in both written and oral workshops with the class.

Westmoreland's section:

Section 2

Stone & Nyren. Deepening Fiction: A Practical Guide for Intermediate & Advanced Writers. Pearson Longman.

Charters. The Story and Its Writer. Expanded 6 th ed., Bedford/St. Martin's.

Intended for students with prior background and familiarity with contemporary literature and fictional devices, this course will be largely conducted as a workshop in which students' own writing will be the subject of discussion. (Note: English 381A is a prerequisite for taking this class.) A basic understanding of the elements of fiction (narration/dramatization/flashback, description, dialogue, and point-of-view) will be assumed, though we will cover these matters on a more sophisticated level than in English 381A. Moreover, we will focus on the more difficult tasks of producing publishable quality work. Issues of consistency of voice and tone, freshness of style and originality, as well as aesthetic and audience, will be discussed and emphasized through writing exercises and assigned readings.

We will divide our time between your work and that of professional writers. I expect many issues will arise including, for example, the idea of place and how it affects characters' lives, as well as the actions, diction, tone, and ultimately the shape of fictional narratives. Through close reading and writing you'll be asked to answer questions such as: What is place and how is it achieved? How has narrative design evolved and what is our current concept of “story”? We can expect that many other related questions and topics will arise and you are encouraged to bring in craft essays or supporting materials for exploration.

Students will be expected to bring in their new original fiction on a regular basis—at least two original short stories to be workshopped by your peers. Participation is a must, and students should be willing to share their own work, listen to the work of others, and both accept and provide insightful, judiciously offered commentary about each other's work. At the end of the semester you'll be expected to turn in a portfolio of your work, including your reading journal, both short stories and the comments your peers provided, a substantial revision of one story, a process note, and a 5-10 page critical essay evaluating your literary technique.

The focus of this workshop should be on process and discovery, and for the experience to be satisfying, you must be willing to invest yourself, learn from others, reinforce your own fictional voice/identity, and in some cases grow beyond any misguided preconceptions you have about what it means to create meaningful fiction. I urge you to look closely at the requirements described and think about whether this is really the course you want, and also whether you have the time and energy to devote to this class.

ENGLISH 382A CREATIVE WRITING: BEGINNING POETRY Griffiths and Jordan

Griffiths ' section:

Section 2

Lee. News from Down to the Café. Copper Canyon .

Stafford . Writing the Australian Crawl. University of Michigan Press.

Kuusisto. The Poet's Notebook. W. W. Norton.

De la Paz. Names Above Houses. Southern Illinois University Press.

Rilke. Duino Elegies. Trans. Young. W. W. Norton.

Hoagland. What Narcissism Means to Me. Graywolf Press.

Bishop. The Complete Poems 1927-1979. Farrar, Straus, Giroux.

This is a workshop course for undergraduate students. Students are expected to submit their own work regularly to the workshop for discussion and to respond critically to the work of their peers. In addition, the course features the reading and discussion of the work of a number of contemporary American poets. Writing assignments may include exercises, journals, and reviews. At the end of the course, each student will turn in a portfolio of poems, including some revisions.

Jordan 's section:

Section 1

Laux & Addonizio. The Poet's Companion. W.W. Norton.

Nelson. The Home Place . Louisiana State University .

Kimbrell. The Gatehouse Heaven. Sarabande.

Forche. The Country Between Us. Harper & Row.

This is an introductory level poetry writing class, taught in a mixture of discussion, workshop, and lecture format. There is a prerequisite of English 102 or 120 or consent of instructor. We will look at various craft issues of importance to poets, learn the vocabulary to discuss poetry, and read contemporary poems carefully with the goal of learning craft techniques from those poets and adapting their strategies to our own ends. Writing poetry entails reading poetry; thus reading and responding to readings will be an integral part of the course. If you don't read poetry, you will not write good poetry. If you don't want to read poetry, you should rethink your desire to write poetry as well as any plans you might have to study poetry with Professor Jordan. There is a lot of reading in this class. You will also be expected to write a new poem almost every week, to participate actively and fully in workshops and class discussions, and to give a short oral presentation on a contemporary book of poetry (book subject to instructor's approval). There will be a final test on poetic terminology and craft issues as well as frequent quizzes and writing exercises through the semester. A final portfolio of revised poems is due at semester's end.

ENGLISH 382B CREATIVE WRITING: INTERMEDIATE POETRY Professors Jones and Jordan

Jordan 's section:

Section 1

Kimbrell. The Gatehouse Heaven. Sarabande.

Forche. The Country Between Us. Harper & Row.

English 382B is an intermediate level poetry writing class with the prerequisite of English 382A. This class is designed for students with some poetry writing experience who wish to generate new poems while furthering their knowledge of craft and poetic technique. The class will focus equally on studying the technique of several contemporary poets and adapting those techniques to our own writing, writing and workshop of original poems, and learning and using poetic craft. Students will be expected to read many contemporary poems, write poems for workshop and participate fully in class discussions including putting written comments on their fellow poet's poems submitted to workshop, to take and pass one test on the vocabulary of poetry, and to submit a final revised portfolio of approximately 10 poems. This class is taught with the assumption that only serious students of poetry take it; if you do not wish to learn and improve and are not willing to work, then it is highly recommended that you not take this class.

Pay close attention: You must attend the first class or contact Professor Jordan with information concerning your intentions for the class; otherwise you will lose your position in the class to someone wishing to add in.

Jones's section:

Section 2

ENGLISH 393 SPECIAL TOPICS IN LITERATURE AND LANGUAGE Professors Fanning and McClure

Fanning's Section:

Section 2

Topic: Robert Frost and Modern Irish Poets

Frost. Collected Poems, Prose, and Plays. Eds. Poirier and Richardson. Library of America , 1995.

Kavanagh. Collected Poems. W. W. Norton, 1977.

Mantague. The Collected Poems. Wake Forest University Press, 1999.

Longley. Selected Poems. Wake Forest University Press, 2000.

Heaney. Opened Ground, Selected Poems 1966-1996. Farrar, Straus & Giroux, 1998.

Muldoon. Poems, 1968-1998. Farrar, Straus, Giroux, 2002.

No poet has been more important to the Irish than Robert Frost. His versions of pastoral early and late have provided for three generations of Irish poets examples of ways in which their own rural/agrarian backgrounds could be used fruitfully in “modern” verse. This course will first evaluate for our time Frost's body of work, and then explore what twentieth-century Irish nature and pastoral poetry owes to Frost's example. The Irish poets will be Patrick Kavanagh, John Montague, Seamus Heaney, Michael Longley, and Paul Muldoon.

Requirements:

One essay on Frost (10 pages), due at the end of the Frost section of the course.

Occasional short response papers throughout the semester.

A culminating essay on Frost and one Irish poet (20 pages), due on the last class meeting day.

Participation in a colloquium at the end of the semester. All students will prepare a section of your final essays on Frost and an Irish poet. You will distribute this piece ahead of time, read it aloud, then take some questions from your fellow students.

This course may substitute for ENGL 305.

McClure's Section:

Section 001

Topic: Advanced Writing Technology & Composition

Anderson . Technical Communication: A Reader-Center Approach. 5 th ed. Heinle, 2003.

McClure. Advanced Writing Technology and Composition. CD, 2 nd ed. McClure, 2005.

“Advanced Writing Technology and Composition” is a special topics course designed to offer a practical, “real world” approach to writing. A tool for creating personal and organizational strategies for managing an increasingly complex workplace, writing is essential and central to career success in the 21 st century. Among the strategies that will be addressed in ENGL 393 are: unpacking and demystifying the writing situation and task; unpacking writing processes; using computers to generate, revise, and edit writing as well as conduct research; exploring the concept and the potential effectiveness in document design; and using writing as a tool for managing daily work and enhancing group productivity. Combining product and processes approaches, ENGL 393 will help students understand both the routine realities and the special sensitivities of the workplace and the writing that sustains it. Recognizing the role of electronic media as tools for both research and writing, ENGL 393 will meet in the Department of English's computer classroom. This writing course fulfills ENGL 391 requirement for Pre-Professional Majors.

Requirements: Students will complete a variety of workplace writing tasks (e.g., correspondence, short reports, job application, oral presentations, long collaborative reports, electronic communications), the core of which will be revised for portfolio submission at the end of the semester. Quizzes, midterm, and final examinations will consist of meta-analyses of student's own writing processes and products.

ENGLISH 403 HISTORY OF THE ENGLISH LANGUAGE Professor Riedinger

Required text:

Baugh & Cable. A History of the English Language . 5th ed. Prentice Hall, 2002.

Recommended:

Clark, Eschholz, and Rosa. Language: Introductory Readings . 6 th ed. St. Martin 's

Press, 1998.

Crystal . The Cambridge Encyclopedia of the English Language . Cambridge University

Press.

Dillard. A History of American English. Longman, 1992.

A survey of the growth of English from its prehistoric Indo-European roots through its enrichment as a multicultural tongue to its emergence in the 20th Century as an international language. All living languages change. Emphasis in the course will be on the social, cultural and historical causes of such change, as well as on the nature of the linguistic changes themselves. Slightly more than the first half of the semester will be devoted to the birth and growth of English, from Indo-European through the English of Caedmon, Chaucer, and Shakespeare. For the remainder of the term, we shall follow the language to America , concentrating on the origins of regional American dialects. Special attention will be paid to pidgins, creoles, and Black English Vernacular(s) as a part of our linguistically rich multicultural heritage.

Format and Requirements: Class meetings will consist of lectures and discussions of reading assignments. If time permits, students will make brief oral reports on the subject of their research. Students will be expected to write two hour-examinations, a final examination, and a research paper on a subject of the student's choice after individual conferences with the instructor.

ENGLISH 405 MIDDLE ENGLISH LITERATURE: CHAUCER Professor Amos

Required Texts:

Benson, Jr., ed. The Riverside Chaucer . 3rd ed. Houghton Mifflin.

Beidler, ed. The Wife of Bath . St. Martin 's Critical. St. Martin 's Press.

Blamires. Woman Defamed, Woman Defended. Clarendon Press .

Cawley, A.C., ed. The Canterbury Tales . Everyman Paperback Classics.

Two audio tapes from Chaucer Studio.

Articles from e-reserve.

Recommended Texts:

Hieatt & Hieatt. The Canterbury Tales. Bantam.

Davis , et al. A Chaucer Glossary. Clarendon Press.

As the greatest author to write in Middle English, Geoffrey Chaucer offers us a unique view of the early development of English literature. At the same time, his complex and delightful texts invite and reward investigation of a variety of topics of particular concern in our postmodern world, especially the construction and transmission of historical and cultural definitions of class, gender and identity.

Our examination of Chaucer's poetry will be trifocal: 1) we will explore those “universal” aspects of his poetry that have intrigued and irritated his readers for centuries, considering and critiquing the processes by which Chaucer has become canonized as the “father of English literature”; 2) we will situate Chaucer within the context of 14th and 15th century English letters by reading his works alongside his contemporaries; and 3) we will explore how the major cultural, social, political, and religious events of the time intersect with his writings.

This course assumes no knowledge of late medieval literature or of Middle English. Non-medievalists are strongly encouraged to enroll, especially since discussions and written assignments will be matched to the interests of class members. We'll read as much of Chaucer's writings in the original Middle English as possible -- starting slowly with an introduction to Middle English and gathering speed as everyone gets comfortable with the language -- and deploy and critique modernizations where necessary. For the work of other medieval authors we'll use modern-English versions.

Requirements: 1) participation: active contribution to class discussion, one group and one individual presentation, one recitation; 2) preparation: short in-class responses, occasional reading-check quizzes; 3) interpretation: five 2-page essays, three reviews of scholarship; 4) analysis: a midterm and a final examination.

ENGLISH 421 ENGLISH ROMANTIC LITERATURE Professor McEathron

DeQuincey. Confessions of an English Opium Eater, and Other Writings. Ed. Milligan. Penguin.

Perkins, ed. English Romantic Writers. 2 nd ed. Harcourt Brace, 1995.

This course offers a detailed study of the work of the major English Romantic poets, including William Blake, William Wordsworth, S.T. Coleridge, John Keats, Percy Shelley, and John Clare. The course is organized around two main circles or “families” of writers – the Wordsworth & Coleridge circle, which extends to Dorothy Wordsworth, William Hazlitt, and Thomas DeQuincey, and the Shelley & Byron circle, which includes Mary Shelley. Our work with this range of figures will allow us both to examine recurrent themes of the Romantic period (Revolution, Nature, Prophecy, Dreams & the Imagination, Individual Consciousness) and to observe the dynamics of friendship and rivalry which were so much a part of the era's' literary history. We will also discuss some ways in which Romanticism's great ideal -- that of individual liberty -- has developed into a central tenet of our own culture.

Requirements:

Undergraduates – 3 Short Papers (3-5pp.); Midterm and Final

Graduate students – 2 Papers (8-10pp.); Midterm and Final

ENGLISH 446 CARIBBEAN LITERATURE Professor Zimra

Topic: Caribbean Women Writers: Coming of Age Narratives

Required Texts:

Hodge. Cric Crac Monkey. Heinemann.

Cliff. Abeng. Plume. Penguin.

Kinkaid. Annie John. Noonday.

Nunez. Beyond the Limbo Silence. Seal Press, 1998.

Garcia. Dreaming in Cuban. Ballantine.

Morrison. Tar Baby. New American Library. Penguin.

Conde. Tituba, Black Witch of Salem . Ballantine, 1992.

Open to English majors and minors, this class fulfills the “continental literature” requirement. Also, “Women's Studies”.

We follow the identity quest of a young female narrator coming of age as her country achieves political independence. These women writers offer us feisty characters grappling with a changing sense of self in a society where race and gender are tightly pre-scripted for them. Expect intensive close-reading, shared research resulting in team-presentations (followed by short position papers); and, instead of a final examination, a final individual annotated bibliography.

If you have not had the opportunity to take a class on literary analysis, such as ENGL 301, now would be a good time to do so, since your presentations and position papers will need to demonstrate good analytical skills. If you have had other 400-level classes on modern topics (literature, history, sociology), you are welcome to explore a comparative topic for your final project.

Objectives:

to examine the relationship between literary history and social history

Goals:

to define diasporic discourse in the Americas

ENGLISH 448 IRISH LITERATURE Professor Dougherty

A survey of the literature of Ireland from the present day to the early Christian era. Beginning with contemporary Irish poetry, short stories, and drama and extending backwards to 400, we will read works by such authors as Seamus Heaney, William Trevor, and Brian Friel; Edna O'Brien and Elizabeth Bowen; Joyce, Yeats, Beckett, Synge and O'Casey; Maria Edgeworth and Thomas Moore; and Swift, Sheridan and Goldsmith. We will conclude with an examination of early Irish literature in translation.

Requirements:

Graduate Students: one ten page paper due around midterm, one twenty page paper due at end of term.

Undergraduates: two five page essays, midterm and final. Attendance and participation will also count in determining final grades.  

ENGLISH 451 EIGHTEENTH CENTURY ENGLISH FICTION Professor Chandler

Behn. Oroonoko and Other Writings. Oxford University Press.

Defoe. Moll Flanders . Penguin.

Richardson . Pamela. Penguin.

Fielding. Tom Jones. Penguin.

Sterne. Tristram Shandy. Oxford .

Burney. Evelina. Ed. Cooke, Norton Critical Edition. W. W. Norton.

Godwin. Caleb Williams. Penguin.

Austen. Northanger Abbey. Penguin.

We often think of nineteenth-century novels as cultivating “psychological realism” in their portrayals of integrated selves, and of twentieth-century ones as cultivating a “lived experience” that is fraught with questions about the very concept of the self. The odd thing is that eighteenth-century novels arguably share more with this later impluse than with the earlier one. In English 451 we will explore that idea, while learning about the developments in literary, social, and intellectual history that make this era of fiction-writing rich and interesting on its own merit.

Course format will be lecture-and-discussion. Novels will be supplemented by article-length readings in literary criticism and cultural history, as well as by short samples from other literature of the period.

Requirements:

Undergraduates: Two 4-5 page papers; reading quizzes; midterm examination; final examination.

Graduates: Two conference-length papers; reading quizzes; presentation.

ENGLISH 455 MODERN CONTINENTAL FICTION Professor Humphries

Malraux. Man's Fate. Vintage. Random House.

Flaubert. The Temptation of Saint Anthony. Trans. Hearn. Modern Library.

Camus. The Fall. Vintage. Random House.

Sartre. No Exit and Three Other Plays. Vintage. Random House.

Kundera. The Unbearable Lightness of Being. Harper.

Garcia-Marquez. One Hundred Years of Solitude. Harper Perennial. HarperCollins.

This course serves as an introduction to modern novels that document social, cultural, and historical conflicts across a variety of literary schools (Existentialism, Impressionism, Modernism, Post-Modernism, etc.), and examines how an author, responding to specific historical, political, psychological, and ontological situations, invites the reader to reconsider his/her understanding of the world and the human subject.

ENGLISH 459A AMERICAN PROSE FROM 1900 TO MID-CENTURY: THE MODERN AGE Professor Fox

James. The Ambassadors. Penguin.

Faulkner. As I Lay Dying. Vintage. Random House.

Dos Passos. The 42 nd Parallel. Mariner. Houghton Mifflin.

Miller. Tropic of Cancer. Signet Books. Penguin.

Steinbeck. The Grapes of Wrath. Penguin.

Hemingway. For Whom the Bell Tolls. Scribner.

Agee. Let Us Now Praise Famous Men. Houghton Mifflin.

Mailer. The Naked and the Dead. 50 th Anniversary Ed. Picador.

An intensive study of major American prose works from the first half of the twentieth century.

Requirements:

Regular attendance and conscientious participation.

Undergraduates: three essays (75% of grade).

Graduate students: a brief analytical paper (15% of grade); one research project or annotated bibliography (25%); one significant essay (35% of grade).

Final examination (25%).

ENGLISH 469 CONTEMPORARY TOPICS IN DRAMA Professor Klaver

Topic: Modern Women Playwrights

Churchill. Plays One: Owners, Traps, Vinegar Tom, Light Shining in Buckinghamshire, Cloud Nine. Routledge.

Glaspell. Plays by Susan Glaspell. Ed. Bigsby. Cambridge University Press.

Hansberry. Les Blancs: The Collected Last Plays: The Drinking Gourd/What Use Are Flowers? Vintage. Random House.

Hughes. Clit Notes: A Sapphic Sampler. Grove Press.

Kennedy. Adrienne Kennedy in One Act. University of Minnesota Press.

Moraga . Heroes and Saints & Other Plays: Giving Up the Ghost, Shadow of a Man, Heroes and Saints. West End Press.

Parks. The American Play: And Other Works. Theatre Communications Group.

Terry. Plays by Megan Terry: Approaching Simone/Babes in the Bighouse/Viet Rock. Broadway Play Publishing, Inc.

English 469 looks at a number of women playwrights of the twentieth century. Though most of the playwrights are American, included are three Europeans. The course examines various feminist positions as well as queer theory and performance theory. Cross-listed with Women's Studies.

Requirements:

Undergraduates: oral response, research essay, midterm and final examinations.

Graduates: oral report, research essay, five short written assignments.

ENGLISH 471 SHAKESPEARE: THE EARLY PLAYS, HISTORIES, AND COMEDIES Staff

 

 

ENGLISH 481 YOUNG ADULT LITERATURE IN A MULTICULTURAL SOCIETY Jackson

Achebe. Things Fall Apart. Bantam Doubleday Dell.

Holm. I am David. Harcourt Trade.

Ryan. Esperanza Rising. Scholastic, Inc.

Santiago . Almost a Woman. Random House.

Bradbury. Fahrenheit 451. Ballantine Books.

Lowry. Giver. Houghton-Mifflin.

Mikaelsen. Touching Spirit Bear. HarperCollins.

Coleman. Born in Sin. Simon & Schuster.

Bruchac. The Heart of a Chief. Penguin.

Yep. The Amok. Puffin.

Nye. Habibi. Simon & Schuster.

Hurston. Their Eyes Were Watching God. Harper.

Giovanni. Paint Me Like I Am. Harper.

Gallo. No Easy Answers. Delacorte.

Park. When My Name Was Keoko. Clarion. Houghton-Mifflin.

This course is designed to introduce prospective and in-service teachers to the field of literature for the adolescent. Better defined as "literature AND the adolescent," the course looks at what adolescents read and why. Beyond the psychological background implied by this, students look at how to evaluate materials in this area and at the application of critical approaches, particularly reader response theory, in the teaching of literature to adolescents. There is also an emphasis on multicultural literature: authors, reading cross-culturally, and the impact of race, gender, and culture on how we read and write.

ENGLISH 485 PROBLEMS IN TEACHING COMPOSITION, LANGUAGE, LITERATURE AND READING IN HIGH SCHOOL Nieveen-Phegley

Milner. Bridging English. 3 rd ed. Prentice-Hall.

This course acquaints students with the methods and materials for teaching English in the secondary schools. The course focuses on teaching methods, content, instructional materials, grading, and organization of secondary English programs. English majors with a concentration in teacher education preparation should take this course during the semester immediately prior to their professional semester (student teaching.)

Requirements: Journal, group project, three essays, two-week unit plan, microteaching, portfolio, final examination.

ENGLISH 492A CREATIVE WRITING SEMINAR: FICTION Westmoreland

Bailey, ed. On Writing Short Stories. Oxford University Press.

Charters. The Story and Its Writer. Expanded ed. Bedford/St. Martin's Press.

This course will follow the workshop format. Students will submit original fiction to the class for group critiquing. The requirements for this course are a minimum of thirty pages of original fiction and several analytical essays.

Prerequisites: 381A, 381B, 351, and permission of the instructor.

ENGLISH 492B CREATIVE WRITING SEMINAR: Poetry Professor Jones

Prerequisites: 382A, 382B, 352, and permission of the instructor.

ENGLISH 493 SPECIAL TOPICS IN LITERATURE AND LANGUAGE Professor Cogie

Cogie's section:

Section 001

Topic: One-to-One Teaching: Practice and Theory

Gillespie & Lerner. Allyn & Bacon Guide to Peer Tutoring. 2 nd ed. Allyn & Bacon.

Course Pack.

One-to-One Teaching: Practice and Theory provides students with the opportunity for hands-on experience in tutoring writing and for learning the theories that underpin that practice. The course should be of interest to future teachers and individuals going into careers that demand strong writing and one-to-one teaching skills.

Students will spend three hours each week in the Writing Center , observing tutorials at first and then moving on to conduct their own tutoring sessions. Class time (two hours per week: Mon. and Wed., 4:00 to 4:50 p.m.) will involve discussion and application of the theories central to writing center work, including theories of collaborative learning, the writing process, error analysis, and the sociolinguistic dimensions of the student-tutor relationship. The course will also introduce students to theories and strategies for working with particular student populations such as English as a Second Language and dialect speakers, basic writers, and students with learning disabilities.

Through the hands-on practice and discussion of theory, students will learn key elements of the one-to-one teaching of writing: analyzing of the weaknesses and strengths of student essays and the causes behind the weaknesses, assigning priorities for tutoring, and applying a wide array of tutoring strategies (such as open-ended questioning, listing and clustering, glossing, and error analysis) to meet the needs of the individual student writer.

Prerequisites: A or B in English 101 and 102, and permission of the instructor.

Requirements: Reading and Tutoring Journal, analyses of sample essays, one short paper, and one research project.

ENGLISH 494 CULTURAL ANALYSIS AND CINEMA Williams

Topic: Gainsborough Melodrama and The Archers: Visions of Excess and Gender.

Cook. Fashioning the Nation. British Film Institute.

This semester's topic will analyze aspects of British Cinema in the 1940s and 1950s with special emphasis upon Gainsborough Melodrama and the Films of Michael Powell and Emeric Pressburger. Although establishment critics defined the “real business of British Cinema” as “realism” during wartime and the postwar era, a group of films defied this discourse. These were the films produced by Gainsborough Studios and the independent productions of The Archers represented by the collaboration of director Powell and screenwriter Emeric Pressburger. The class will focus on relevant examples of these films.

It will begin with a screening of the Ealing wartime drama San Demetrio, London (1943) to illustrate what was generally defined as “realism” in 1940s British Cinema. Then a series of costume melodramas produced by Gainsborough Studios will illustrate another side of British Cinema derided by establishment critics until their rediscovery forty years later. Highly popular with female audiences in wartime Britain these films generally renegotiated rigid gender boundaries leading to an excess of visual pleasures in many ways tuned to repressed desires within that era. Relevant examples will include The Man In Grey (1943), Fanny By Gaslight (1944), The Wicked Lady (1945), and Caravan (1946).

These films also were “European” in costume design and form a contrast to the more developed work of The Archers represented by The Spy In Black (1939), Contraband (1940), The Life And Death Of Colonel Blimp (1942), I Know Where I'm Going (1945), A Matter Of Life And Death (1946), Black Narcissus (1947), and The Red Shoes (1948). The Archers often negotiated different genres such as the wartime film as in 49 th Parallel (1941) and British “film noir” such as The Small Back Room (1949) in particular ways.

The course will explore these different avenues of British cinema still influential today.

ENGLISH 502 INTRODUCTION TO GRADUATE STUDY AND TEACHING COLLEGE COMPOSITION Professor Dively

Lindemann. Rhetoric for Writing Teachers. Oxford University Press.

Straub. Sourcebook for Responding to Student Writing. Hampton Press.

Course Pack.

English 502 is designed to introduce graduate students in English to current theory, research, and practice in the teaching of college composition. This course will provide you with an opportunity to reflect on your experiences as teachers, to consider the purposes and goals of college writing classes, and to shape and revise current and future writing classes. Through reading and writing about both theoretical and “practical” accounts of composition instruction, we will consider a set of interrelated questions: what are the responsibilities--intellectual and ethical--of a teacher? What are the functions of writing and the college writing course? How have different teachers/scholars approached the teaching of writing?

While this course necessarily focuses on teaching college composition, the overall goal of the course is to enable you to become a more informed and reflective teacher--whether of composition, creative writing, literature, or any other field--and to provide you with opportunities for reflection and professional development. The assignments for the course, consequently, are meant to stimulate thought (journal, responses) and/or to provide practice in genres (the teaching portfolio and the conference paper) that will be useful to you as a member of the academic community and as a future job seeker.

ENGLISH 516 RESTORATION AND 18 TH CENTURY STUDIES Professor Boulukos

Topic: Jane Austen

Required Texts:

Hays. Victim of Prejudice. 2 nd ed. Broadview.

Radcliff. The Italian. Oxford World Classics.

Austin . Emma . 3 rd ed. Ed Parrish. Norton Critical. W. W. Norton.

---. Mansfield Park , ed. Ed. Johnson. Norton Critical. W. W. Norton.

---. Northanger Abbey, Lady Susan, The Watsons, and Sanditon. Oxford World Classics. Oxford University Press.

---. Persuasion . Ed. Spacks. Norton Critical. W. W. Norton.

---. Pride and Prejudice. 3 rd ed. Ed. Gray. Norton Critical. W. W. Norton.

---. Sense and Sensibility. Ed. Johnson. Norton Critical. W. W. Norton.

The Cambridge Companion to Jane Austen . 1st ed. Ed. Copeland. Cambridge University Press.

Tomalin. Jane Austen: A Life. Random House.

Austen-Leigh. A Memoir of Jane Austen. Oxford World Classics. Oxford University Press.

Miller. Jane Austen, Or The Secret Of Style. Princeton University Press.

Jane Austen is, arguably, the most important author in the history of the English novel. She has been used to begin, and to end, influential histories of the novel. F. R. Leavis presented her as initiating the “great tradition” of the English novel as aesthetic artwork; Ian Watt and Nancy Armstrong both end their histories of the eighteenth-century novel with Austen, using her to mark the moment when the novel finally achieves a full-fledged form. At the time Austen published her works, however, opinions differed. Walter Scott praised Emma as a remarkably unified work, while Hazlitt opined (not speaking directly of Austen) that a novel with a plot confined to the lives of women could never achieve real significance. Recently, D. A. Miller has argued that Austen is the embodiment of literary style. Despite her (subsequently) undisputed significance and success, Jane Austen, while often taught, is rarely taught as a “great author” worthy to be the sole subject of a course.

This course will examine Austen from a variety of perspectives. We will examine her place in the history of the novel and in literary history more generally, reading a historically broad swath of Austen criticism alongside the novels. We will also examine the 18 th century context of her work, both through attention to such issues as class, politics, and colonialism in the late 18 th and early 19 th centuries, and by reading two novels that helped set the terms on which Austen was read in her time: Ann Radcliffe's gothic novel, The Italian , which Austen both loved and parodied; and Mary Hays' Victim of Prejudice , a searching examination of the social constraints on women in the late 18 th century. We will pay close attention to gender, both in terms of the cultural work it performs within Austen's texts, and as an external condition that helped shape them. We will also attend to what Claudia Johnson has termed “the cults and cultures of Jane Austen,” considering the impact of Jane Austen Societies, “Janeites,” and the Hollywood craze for Austen adaptations on both academic and popular understandings of the novels.

ENGLISH 530 19 TH CENTURY ENGLISH LITERATURE Professor Collins

Topic: Pictorial Realism in Theory and Practice, 1797-1860

Eliot. Adam Bede. Ed. Cunningham. Oxford University Press.

Ruskin. Selected Writings. Ed. Birch. Oxford University Press.

Wordsworth, D. The Grasmere and Alfoxden Journals. Ed. Woof. Oxford University Press.

Wordsworth, W. Selected Poetry. Ed. Gill and Wu. Oxford University Press.

How do you overcome the sheer heartlessness of technique? In this seminar we will study some of the ways writers and painters working in the tradition of pictorial realism confronted the strains between an observational virtuosity in the portrayal of surface detail and an introspective innocence in the possession of hidden truth. We will start with Romantic versions of “transcendent naturalism,” exploring the extent to which painted, poetic, and prose landscapes comment upon each other and may reasonably be theorized as aesthetically analogous. Here we will focus upon J. M. W. Turner's Swiss watercolors, selected lyrics by William Wordsworth (plus Book 6 of The Prelude ), Dorothy Wordsworth's journals (plus William's poetic recasting of her descriptions), and John Constable's letterpress for English Landscape Scenery in relation to his Wordsworthian project of capturing on canvas the permanent transience of nature. Turner's Royal Academy lecture on “Backgrounds” will then lead us to the Victorians. Here we will focus upon John Ruskin's defense of the Pre-Raphaelite Brotherhood and his astonishing vindication, in Modern Painters, of Turner's art as “true to life.” We will conclude with a close reading and discussion of the best-known and most influential Victorian defense of pictorial realism, George Eliot's first novel, Adam Bede. At all points in this seminar, the sketches, watercolors, and paintings under consideration—including those referred to in Constable's essays, Turner's lecture, Ruskin's writings on the PRB and Turner, and George Eliot's fiction—will be illustrated on screen by projection of museum-quality slides made directly from the originals. Many of these images are also available at the online sites of the art-works' holding galleries, convenient for individual use in the required papers described below.

Supplementary readings include selections from criticism such as Nochlin's Realism (1971), Heffernan's Re-Creation of Landscape (1984), Realism and Representation, ed. Levine (1992), Armstrong's Fiction in the Age of Photography (1999), Smiles's J. M. W. Turner (2000), and Lambert's John Constable and the Theory of Landscape Painting (2004). Every student in the seminar will read all the supplementary critical selections, although one student may be assigned responsibility for outlining the argument of a given selection.

In addition to regular attendance and full participation in class discussion, requirements include two papers, the second an augmentation of the first. The first paper must link Dorothy and/or William Wordsworth to Constable and/or Turner, and the second paper must elaborate or qualify the argument of the first by forging another productive link to Ruskin and/or George Eliot.

ENGLISH 533 AMERICAN LITERATURE BEFORE 1900 Professor Anthony

Topic: Fictions of Capital in Nineteenth-Century America ”

Texts:

(Primary)

Melville. Moby-Dick.

Stowe. Uncle Tom's Cabin.

Norris. McTeague.

Hawthorne . The House of the Seven Gables.

---. The Blithedale Romance.

Wharton. The House of Mirth.

Brown. Arthur Mervyn.

(Secondary-Critical)

Zizek. The Sublime Object of Ideology.

Lott. Love and Theft.

Streeby. American Sensations: Class, Empire, and the Production of Popular Culture.

Brown. Domestic Individualism.

Michaels. The Gold Standard and the Logic of Naturalism.

Merish. Sentimental Materialism.

In this course we will examine how a variety of literary and cultural texts produced in nineteenth-century America reflect the increasing prevalence of commercial capitalism—both local and global—in the practice of everyday life. Our point of departure will be the period's fascination with the concept of “self-possession,” or the notion of having property in one's self: from here we will chart the ways in which this ideal was both championed and critiqued by a range of American authors, virtually all of whom saw this ideal unraveling during this period, both because of the vicissitudes of an increasingly volatile economic market, and because of the harsh realities of slavery, gender oppression, and economic imperialism. Our central literary texts will be canonical: Harriet Beecher Stowe's strange critique of slavery, Uncle Tom's Cabin (1852), Herman Melville's epic confrontation with American ideologies of Manifest Destiny, Moby-Dick (1851), Nathaniel Hawthorne's anxious response to the fall of a propertied aristocracy, The House of the Seven Gables (1851(m abd Frank Norris's bizarre naturalist novel about the brutalities of commodity fetishism, McTeague (1899). However, we will also spend a fair amount of time looking at a variety of lesser-known but extremely popular forms of “pulp” and “dime” fiction produced at a mid-century, material that will provide us with a more raw and perhaps more unmediated perspective on the radical changes in political economy and selfhood taking place during this period (this material is long out of print, so I will be providing xerox copies). In other words, we'll cover some “greatest hits” that will help students with exams, etc., but we will also indulge in the pleasures and intrigues of covering literary and cultural territory that is all but uncharted, critically.

Our critical lens will shift over the course of the term, moving from the marxist-inflected work of critics such as Walter Benjamin, Theodore Adorno, George Lukacs and (more recently) Fredric Jameson, Raymond Williams, and Walter Been Michaels, to more recent examinations of the psycho-dynamics of race and empire by critics such as Slavoj Zizek, Eric Lott, Amy Kaplan, and Shelly Streeby.

Requirements: one medium-length paper (6-8 pages); one or perhaps two class presentations on a secondary work; one term research paper (15-20 pages).

ENGLISH 539 AMERICAN LITERATURE AFTER 1900 Professor Klaver

Topic: American Cultural Studies

Hartley and Pearson, ed. American Cultural Studies: A Reader. Oxford University Press, 2000.

Arnold . Fashion, Desire and Anxiety: Image and Morality in the 20 th Century. Rutgers University Press, 2001.

Klein. Cigarettes Are Sublime. Duke University Press, 1993.

Storey. An Introduction to Cultural Theory and Popular Culture. 2 nd ed. University of Georgia Press , 1998.

The topic for the American Seminar, English 539, is American Cultural Studies. Students will read two books on the topic as well as two books that serve as models of cultural studies as a critical approach. The course is organized as a workshop, with special attention paid to the writing of a publishable essay.

Requirements: four oral reports, two short writing assignments, 20-page research essay.

ENGLISH 550 MODERN BRITISH LITERATURE Professor Molino

Topic: Virginia Woolf

Woolf. Between the Acts. Harcourt Brace Jovanovich.

---. Jacob's Room. Harcourt Brace Jovanovich.

---. Moments of Being. Harcourt Brace Jovanovich.

---. Mrs. Dalloway. Harcourt Brace Jovanovich.

---. Night and Day. Harcourt Brace Jovanovich.

---. Orlando . Harcourt Brace Jovanovich.

---. A Room of One's Own (Annotated) . Harcourt Brace Jovanovich.

---. Three Guineas . Harcourt Brace Jovanovich.

---. To the Lighthouse (Annotated) . Harcourt Brace Jovanovich .

---. The Voyage Out . Harcourt Brace Jovanovich.

---. The Waves. Harcourt Brace Jovanovich.

---. The Years. Harcourt Brace Jovanovich.

This course entails a careful and detailed examination of all Virginia Woolf's novels, beginning with the aptly titled The Voyage Out and ending with Between the Acts. Punctuating this chronological study of Woolf's fiction, we shall read many of Woolf's important critical pieces, such as A Room of One's Own, along with her unfinished collection of autobiographical reflections, Moments of Being. Our goal in the course will be to understand and appreciate Woolf along several lines: 1) as a writer dedicated to modernist narrative practices, 2) a woman deeply invested in the role of women in the arts, and 3) a person confounded by the vagaries of personal memory and the psychic disruptions of trauma. To understand Woolf in so many iterations, we shall accompany our readings with selections from her letters, essays, and diaries; review what might be considered a sub-genre of Woolf studies, conflicting biographical portraits of Woolf; and allot ample time to noteworthy examples of Woolf scholarship.

Assignments: One critically or theoretically informed research paper (20 pages or so); several short in class presentations on texts by Woolf and others.

ENGLISH 592 CREATIVE WRITING SEMINAR Professors Joseph and Magnuson

Joseph's section:

Section 2

Topic: Poetry

Ellis. The Maverick Room . Graywolf Press.

Myers. The Portable Poetry Workshop. Thomson/Wadsworth.

Reeser. An Alabaster Flask. Word Press.

Sommer. The Man Who Sleeps In My Office. University of Chicago Press.

Warren . Zero Meridian . Ivan R. Dee.

This course is intended for the generation and discussion/critique of new poems written by class members. Enrollment restricted to graduate students in the MFA Program in Creative Writing. Required: active and thoughtful class participation, new poems written and turned in each week, and completion of all assigned readings. A portfolio of 10 to 12 poems will be due by semester's end.

Magnuson's section:

Section 1

Topic: Fiction

ENGLISH 593 SPECIAL TOPICS Zimra

Topic: Pro-Seminar on Shakespeare's Tempest

Required Texts:

Shakespeare. Tempest. Signet Classics. Penguin.

---. Tempest. New Folger Shakespeare Edition. Washington Square .

---. Tempest. Ed. Graff & Phelan. Case Studies in Critical Controversy. Bedford/St. Martin's.

Césaire. A Tempest, after Shakespeare's: Adaptation for a Black Theater. Tcg Translations.

Harner. Literary Research Guide. Modern Language Association.

Altick & Fenstermaker. The Art of Literary Research. W. W. Norton, 1992.

Suggested and Strongly Advised:

Altick & Wright. Selective Bibliography For the Study of English and American Literature. 6 th ed. MacMillan, Prentice Hall College Division, 1979.

Gibaldi, ed. MLA Handbook for Writers of Research Papers. 4 th ed. Modern Language Association.

This course introduces PhD and advanced MA students to research methods and procedures in literary studies. We shall follow the evolution of approaches to a key-master text in the canon, seeking to understand how a paradigmatic change or shift in interpretive frames (textual; performed; printed; and rewritten) modifies the way we determine what in a text is important and what secondary.

The first half of the semester will review and practice “tried and true” textual methods, including a comparative assessment of successive early editions; as well as a comparative evaluation of British vs. US school manuals (Penguin vs. Folger).

At mid-term point, we'll undertake a “scavenger hunt,” through various listserves and Web-based data banks, as well as international research libraries, to rank the usefulness of more comprehensive research tools.

The second half of the semester will shift to “variations on a theme,” the dialectics of margin and center. We'll examine colonial modifications of the original play (18 th and 19 th century responses to and rewrites of Caliban, for ex.) alongside the post-colonial rewriting of the play (for ex., Césaire's Tempest, After The Tempest ).

Work is graduated throughout the semester and cumulative. Weekly team reports are expected. Students will be assigned in teams of 2 or 3 (depending on interest). Overall individual performance will be assessed through a complete portfolio consisting of 2 analytical research essays (20%); one performance research essay (15%); one comparative manuscript study essay (15%); one scavenger review (15%); and 3 annotated bibliographies (30%); as well as an annotated assessment of sources and methods (25%).

ENGLISH 597 COMPOSITION THEORY McClure

Required of all students:

Crusius. Discourse: A Critique & a Synthesis of Major Theories. Modern Language Association, 1989.

Kent, ed. Post-Process Theory: Beyond the Writing Process Paradigm. Southern Illinois University Press, 1999.

Moffett. Teaching the Universe of Discourse. Boynton/Cook, 1987.

Olson & Dobrin, ed. Composition Theory for the Postmodern Classroom. State University of New York Press, 1994.

Villanueva, ed. Cross-Talk in Comp Theory. 2 nd ed. National Council of Teachers of English, 2003.

Required of assigned groups:

Beale. A Pragmatic Theory of Rhetoric. Southern Illinois University Press, 1987.

Britton, et al. The Development of Writing Abilities (11-18). National Council of Teachers of English, 1975.

Clark . Dialogue, Dialectic, and Conversation: A Social Perspective on the Function of Writing. Southern Illinois University Press, 1990.

Couture. Toward a Phenomenological Rhetoric: Writing, Profession, and Altruism. Southern Illinois University Press, 1998.

D'Angelo. A Conceptual Theory of Rhetoric. Winthrop , 1975. (not available for purchase)

Kinneavy. A Theory of Discourse: The Aims of Discourse. W. W. Norton, 1980.

Highly recommended:

Heilker & Vandenberg, ed. Keywords in Composition Studies . Boynton/Cook, 1996.

Perl, ed. Landmark Essays on Writing Process. Hermagoras Press. (Erlbaum), 1994.

This course acquaints students with theories of composition in two ways: theories of discourse (i.e., attempts to systematically describe variables of human communication and how they interact) and theories of composing (attempts to systematically describe the ways people write). Students will read both primary and secondary texts of key figures in composition theory including Berthoff, Bizzell, Britton, Bruffee, Christensen, Coles, D'Angelo, Elbow, Emig, Flower, Heath, Kinneavy, Kroll, Lunsford, Moffett, Reither, Shaughnessy, and others. The approach to this course will be both historical and analytical. Assignments will include keeping a journal, two or three major projects, and a final examination.

Requirements: Readings . Series of major assignments (annotated bibliography, dialogue, major paper). Journal. Final examination. This course is required of Rhetoric & Composition majors.

 

 

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