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 Room 30, 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: Ramage. Allyn & Bacon Guide to Writing: Brief. 4th ed. Longman. 2006. Belasco. Constructing Literacies: A Harcourt Reader for College Writers. Harcourt, 2001. A grammar/mechanics handbook (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 100All 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 OBJECTIVESIn 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: Douglass. Narrative of the Life of Frederick Douglass. Dover Thrift ed. Dover. Ramage. Allyn & Bacon Guide to Writing: Brief. 4th ed. Longman. 2006. Selzer. Conversations: Readings for Writers. 6th ed. Longman, 2006. Reynolds. Portfolio Keeping: A Guide for Students. 2nd ed. Bedford/St. Martin’s, 2006. A grammar/mechanics handbook (to be announced) English Composition I--English 101 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 comprehending, instructing, entertaining, persuading, investigating, problem-solving, evaluating, explaining, and refuting. 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. During the semester, each student will learn to respond effectively to other authors’ writing and to use responses to his or her own writing as part of the composing process. PLACEMENT IN ENGLISH COMPOSITION I: 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. 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 COURSE MATERIALS
A 3.5” computer disk or a rewritable data CDAccess to a computer that is connected to the InternetCOURSEWORKDuring the semester, your instructor will require you to write frequently, for a variety of audiences and in variety of forms. Most of this work will serve as direct or indirect contributions to the primary project of English 101, the course Portfolio (explained below. The Portfolio will comprise revised versions of your major assignments (Unit Projects) and an analysis of your writing and your communicative development during the semester. During the semester you will do work that is equivalent to six major papers. Unit Projects English 101 is divided into four units, and at the end of each unit, you will produce a well developed text that is the equivalent of three to five double-spaced pages with one-inch margins and in twelve-point Times New Roman. For each unit, your instructor will post on the WebCT site detailed assignment guidelines (in the appropriate forum on the WebCT Discussion Board). Each of these texts (also called unit assignments, unit essays, or major assignments) will emerge from a process approach to writing. In this process, you engage in invention activities, planning activities, drafting activities, and revision/editing activities (including peer review). Unit One -- Application Packet: For a professional audience, you will compose a letter of application and a resume in support of an application for employment. Mandatory inclusion in the Portfolio. Unit Two -- Response Article: For an academic audience, you will compose a critical response to an academic article that will be assigned by your instructor. Mandatory inclusion in the Portfolio. Unit Three -- Analysis: For a business audience, you will compose a technical report that evaluates a one-page advertisement (which appears in a magazine that will be assigned by your instructor). Mandatory inclusion in the Portfolio. Unit Four -- Literature Review: You will synthesize material from a variety of sources about one subject. Optional inclusion in the Portfolio.
Small Assignments In some sense, each Unit Project will serve as a model for the Portfolio that you will submit near the end of the semester. Each Unit Project will gather your work during the unit as evidence of your rhetorical growth, just as the Portfolio will gather your work during the entire semester. During each unit, you will engage in work that will prepare the text that you will submit for review at the end of the unit. Often, these Small Assignments will be stages in the writing process, but they might be other documents such as quizzes and reading notes. Occasionally, your instructor will assign a more demanding assignment as a portion of this grade (for instance, a peer review of a classmate’s writing or a detailed summary of a reading); to such texts, the instructor will assign a greater value (the equivalent of three or five Small Assignments). During the semester, you will likely have one of these assignments due during each class. (Frequently, you will have to submit at the beginning of class one that you have composed at home and, then, compose another during class.) Though this course does not have a specific class participation grade, the Small Assignments will indicate your level of engagement. Portfolio This course has been designed to increase your ability to communicate, particularly in writing. It does so by encouraging you to develop and then exercise a rhetorical sensitivity by which you identify the constraints and opportunities of any communicative challenge and respond appropriately. To improve this ability (which you already posses), this course is structured around a portfolio system, in which a large portion of your grade (forty percent) is based on texts (Unit Projects) that you will be able to revise for much of the semester, drawing upon the rhetorical sensitivity that you develop, your instructor’s comments, your peers’ comments, and other resources that you might employ (for instance, the Writing Center). Near the end of the semester, you will submit your Portfolio by gathering work that you have done during the semester and polished to “presentation quality” text. You will present this work to your instructor in an appropriate fashion (for instance, in a three-ring binder, as a spiral-bound book, or as a webpage) as evidence of your ability to write and as evidence of your learning during the course of the semester. This presentation-quality project will be graded on the quality of the writing, not on effort. Nonetheless, the project’s subject is your enhanced understanding and improved ability to write. Exams In this class you will take a midterm and a final exam. The material that the exams will cover will be presented by the instructor later in the semester.
Percentages
ENGLISH 102 ENGLISH COMPOSITION II Director of Writing Studies
Required Texts: Crusius. Selected Material from the Aims of Argument. McGraw-Hill, 2006.*Lunsford. Everything’s an Argument: With Readings. Bedford/St. Martin’s, 2004. Reynolds. Portfolio Keeping: A Guide for Students. 2nd ed. Bedford/St. Martin’s, 2006. A grammar/mechanics handbook (to be announced) *These readings are from chapters ten through sixteen of The Aims of Argument. Therefore, a copy of the complete Aims of Argument (fifth edition!) is an acceptable alternative. 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.
PLACEMENT IN ENGLISH COMPOSITION II: ENGLISH 102 To qualify for enrollment in English 102, students must have completed English 101 or an approved equivalent with a C or better or have passed the Writing Studies’ English 101 proficiency exam.
COURSE MATERIALS A 3.5" computer disk or a rewritable data CD Access to a computer that is connected to the Internet 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; employ the various stages of the writing process as ways of investigating and inventing, drafting, and revising and editing; 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. COURSEWORKFour 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). The last Writing Project (35 % of the grade) will take the form of a Research Portfolio. This collection of presentation-quality work will include a research paper and other texts completed and revised during the course of the semester. 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
RequiredTexts: 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 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 Required Reading: All sections will read the following texts during the opening weeks of the course.
Kafka. Metamorphosis. Dover. Woolf. Mrs. Dalloway. Harcourt. Eliot. The Waste Land. W. W. Norton. O’Neill. Four Plays. (“The Hairy Ape”) (“The Emperor Jones”) Signet. Penguin. Faulkner. As I Lay Dying. Vintage International Series. Random House. During subsequent weeks of the course, instructors will teach three or four works from the following lists: Hurston. Their Eyes Were Watching God. HarperCollins. Nabokov. Lolita. Vintage. Random House. Beckett. Waiting for Godot. Grove. Ginsberg. Howl and Other Poems. City Lights. Burgess. A Clockwork Orange. W. W. Norton. Vonnegut. Slaughterhouse-Five. Dell. Kingston. Woman Warrior. Random House. Delillo. White Noise. Penguin. Ishuguro. The Remains of the Day. Vintage. Random House. Furthermore, instructors of individual sections may supplement the reading requirements listed above with one or two additional works of their own choosing relevant to the historical era and the “theme” of English 204. Student Learning Objectives
Students should be able to: (a) use appropriate literary-critical vocabulary; (b) identify, analyze, and discuss key themes of modern literature; and (c) support interpretive readings with appropriate, coherently presented textual evidence. Course DescriptionThe literature of the 20th century depicts the modern world as a place of shifting perspectives and uncertain values. Many writers and critics refer to our time as one of dislocation. This description can be seen as positive or negative. On the one hand, the modern world is a place where the creativity of the artistic and technological imagination has brought us delight and comfort, along with considerable ethical and moral puzzlements. On the other hand, the modern world is a place of conflict and homelessness (from traditions, families, values and familiar narrative forms), a situation that can result in exhilaration and terror both. In the twentieth century, our capacity for genocidal warfare is precariously balanced against our awareness of the integrity of others different from ourselves and our responsibility for the world. These are the perspectives that define this course. In English 204 students will be expected to participate in discussion and to practice critical and thoughtful reading and writing. Instructors will choose readings from 1900 to the end of century, giving balanced attention to each quarter of the century. Some sections may require attendance at films or dramatic productions outside of regular class sessions. Course Requirements and GradingMidterm and final examinations (essay) Papers on topics inspired by texts and discussion
ENGLISH 205 THE AMERICAN MOSAIC IN LITERATURE Jackson
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 206A LITERATURE AMONG THE ARTS: THE VISUAL BrunnerTopic: Graphic Novellas, “Sequential Art” and ComixSpiegelman. Maus: A Survivor’s Tale: My Father Bleeds History. Pantheon. ---. Maus II: A Survivor’s Tale: And Then My Troubles Began. Pantheon. Gaiman. Sandman: World’s End. DC Comics. Miller. The Dark Knight Returns. DC Comics. Moore. Watchmen. DC Comics. Miller. Superman: Red Son. DC Comics. Hernandez. Love and Rockets. Vol. 13: Chester Square. Fantagraphics. Pekar and Brabner. Our Cancer Year. Four Walls Eight Windows. Clowes. Ghost World. Fantagraphics. Satrapi. Persepolis. Pantheon. Friedrich, ed. Roadstrips. Chronicle Books.
MEETS CORE REQUIREMENT FOR “DISCIPLINARY STUDIES –FINE ARTS”
Note: the material in this course at times features images and language that were expressly designed to be controversial; please understand this before you decide to enter this course
Introduction: There is still debate as to whether writings and drawings in a comic book format are worthy of attention, but just recently, the publication of a number of book-length analytical studies by scholars in distinguished scholarly presses (among them, the Smithsonian Institution Press, the Pennsylvania State University Press, and Johns Hopkins University Press) has gone a long way toward removing objections to a serious study of comics. It is true that comic book narratives have generally been aimed at a wide audience, but this in itself should neither undermine their credibility nor downplay their attraction to artists and writers. “While the popularity of comic art has tended to scare off art critics, art historians and museum curators,” Daniel A. Siedell (curator of the University of Nebraska’s Sheldon Memorial Art Gallery) explained at the opening of a collection of a show of comic strip art from the Sheldon Museum’s permanent collection, “this popularity is due in large measure to its compelling aesthetic features” (New York Times March 14, 2002, p. B2). Course Description: This course is an introduction to sequential art produced between the 1930s and the present, with an emphasis on graphic novels that have achieved the same recognition as high-art productions, commercial comic boos, and examples of “comix” that deliberately stretch the definition of the genre. This material is presented in a classroom setting that includes occasional background lectures on production and theory, in-class writing exercises designed to allow feedback from class members, and discussion periods in which class members are encouraged to evaluate works. There will be two in-class written exams, a final, and numerous (almost daily) brief written exercises that occur in-class. The course opens with a study of those handful of publications that seem to have attained truly popular acclaim. These are texts that have reached a large audience, texts whose status as “comic art” has apparently not been hurtful to their reputation. We open with Art Spiegelman’s Maus, an idiosyncratic exploration of one family’s involvement with the Holocaust that is regularly assigned in literature and cultural studies classes. We continue by investigating writings by subject specialists who have presented justifications for a medium that juxtaposes the verbal with the visual, including Scott McCloud’s analytic essay in comic-book form, Understanding Comics. We continue with two figures who are not often linked with Spiegelman’s work, though he himself has acknowledged their influence on him: Carl Barks (who drew the Donald Duck and Scrooge McDuck features in the 1940s up to the 19060s), and R. Crumb, one of the most successful of the so-called “underground” comic book artists. Finally, we’ll turn toward a selection from Neil Gaiman’s The Sandman, the “World’s End” sequence that combines a number of brief tales into one overall narrative. After these works that have achieved “crossover” status, we turn, in a second unit, toward some of the earliest examples of the comic book to begin assembling a historical overview of the form. Our genealogy will start with two signature creations, Superman and Batman, and it will continue by examining important deviations from the superhero archetype such as the noir-inflected Spirit, the proto-feminist Jungle Girls of the late 1940s and the EC “Horror” comics of the 1950s that sparked a witch hunt by would-be Presidential candidate Estes Kevaufer’s Committee to Investigate Crime. After considering the new alternative archetypes introduced in the 1960s by artists collaborating with Stan Lee, and Dennis O’Neill’s Green Lantern series we will focus on the revisionary efforts of Frank Miller’s Batman in Dark Knight Returns and Allan Moore’s recasting of the superhero genre in political and cultural terms, Watchmen. We will discuss the film made from Moore’s earliest work, V for Vendetta (2006), and we will end by a careful examination of Superman – Red Son, Mark Millar’s 2004 reinvention of Superman narrative as a Soviet hero. Having sketched out a background for the history of the popular comic book, it will be possible, in a third and final unit, to approach some of the innovators of the 1980s and 1990s who have been instrumental in even further transforming the medium into a forum in which it is possible to depict women, minorities and outsiders. Practitioners to be discussed include Jaime Fernandez (Love & Rockers, 1986), Harvey Pekar (Our Cancer Year, 1994), Daniel Clowes (Ghost World, 1997) Marjane Satrapi (Persepolis: The Story of a Childhood, 2000), and Peter Friedrich’s colletion of strips by various artists that explore regions of American, Roadstrips (2005). The work of both Pekar and Clowes have recently been made into movies – American Splendor and Ghost World – which we will examine and compare with the original artwork and story, as well as connect with recent work by Clowes, Art School Confidential. Hollywood has been having its usual problems with adaptations, and while we will probably refer to such versions of works by Moore as The League of Extraordinary Gentlemen and V for Vendetta, Moore’s unhappiness with both probably means we should focus on works in which creators have a degree of imput. Criteria: Throughout the course, the emphasis will be on bringing the highest standard of professional judgment to bear on texts in the medium. Along with examining original material, we will also draw upon commentary by a number of scholars as well as background information related to the material production of the form. In addition, lectures and readings will be based upon critical and theoretical cultural studies by Walter Benjamin, Theodor Adorno, Stuart Hall, John Friske and others. At the end of the course, the student should be able to discuss popular texts (1) with reference to current theoretical discussions, (2) within a historical framework that is appropriate to the medium and (3) with an ability to analyze selected frames and texts. Grades will be based upon your ability to reply specifically to the broad questions and the material discussed in the course: to explain, using clear and correct English, and to illustrate, using precise and appropriate examples, the relationship between visual images and verbal texts in a range of different situations.
Texts: Not many comic book features are easily available, even those recently reprinted. In addition, those that are available are treated as if they are “art books” and tend to be expensive. To hold down costs without diminishing the scope of our examinations, we will work whenever possible from material that has been scanned into electronic reserves maintained by Morris Library. You will need to plan having access to a computer with a link to the Morris Library website to obtain this material. Approximately one-half of the material under discussion will be made available electronically. Assigned books with be the following Art Spiegelman. Maus (A Survivor’s Tale) Neil Gaiman, with divers hands. World’s End (reprint of The Sandman, 51-56) Frank Miller with Klaus Janson and Lynn Varley, Batman: The Dark Knight Returns Alan Moore with Dave Gibbons, Watchmen Mark Millar with Dave Johnson, Killian Plunkett, Andrew Robinson and Walden Wong, Superman—Red Son Jamie Hernandez. Chester Square (Love & Rockets 13) Harvey Pekar, Joyce Braber and Frank Stack, Our Cancer Year Daniel Clowes, Ghost World Marjane Satrapi, Persepolis: The Story of a Childhood Roadstrips:: A Graphic Journey Across America ed. Pete Friedrich Additional material that will be available on electronic reserves or a course pack will include essays and commentary by various writers, artists and commentators. Requirements: There will be two in-class exams and a final exam. The two in-class exams each cover approximately five to six weeks of material. The first in-class writing test centers on techniques of close examination as applied to three major texts by Spiegelman, Crumb and Gaiman. The second in-class writing test centers on the ability to discuss works using intertextual examples from the history of the comic book. The final exam centers on the “state of the art” texts discussed in the final weeks of the class as well as overall comprehension. Students may propose writing a 5-8 page analtic essay in place of either of the in-class exams by submitting an outline to the instructor in advanced. Grading: The first writing (either as an in-class test or as a paper) accounts for 20% of the grade, the second 30%, and the final Exam is also 30%. The remaining 20% of the grade will be a product of short in-class writing assignments and quizzes based on the daily reading and class discussion. There is no “grade” for class discussion; everyone is encouraged to participate. Students who regularly contribute to the class will receive extra-credit points if they are needed at the end of the semester when grades are being calculated, so that a border-line grade will be resolved upward. Attendance: Attendance at all classes is required. Over the semester, you are entitled to two unexcused absences. Any unexcused absences after these two will be counted against your final grade which will be dropped by two percentage points for each unexcused absence. Example: if you have missed five classes, and your final grade average is 83, that average will be lowered by calculating three unexcused absences, each of which lowers the final grade by 2 % for a total of 6%. 6% of 83 is 5. 83 – 5 = 78. If you are unable to attend class because of illness or emergency, let me know beforehand so that you can be considered by an excused absence.
ENGLISH 290 INTERMEDIATE ANALYTICAL WRITING Director of Writing Studies
Required Text:
Aaron. The Little, Brown Compact Handbook. 5th ed. Longman, 2004. Rosenwasser and Stephen. Writing Analytically. 4th 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 GoalsAfter 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. CourseworkFour 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. 5th ed. Longman, 2004. Anderson. Technical Communication: A Reader-Centered Approach. 5th 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 GoalsIn 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 Nelms Nelms’s section: Section 2
Woods, Geraldine. English Grammar for Dummies. NY: Wiley Publishing, 2001. (For everyone) Weaver, Constance. Teaching Grammar in Context. Portsmouth, NH: Heinemann, Boynton/Cook, 1996. (For TEP students) Williams, Joseph M. Style: The Basics of Clarity and Grace. Pearson Education, 2005. (For Pre-Professional students) Separate readings either on Electronic Reserve or in a course packet. English 300 is required for English majors in the Teaching Education Preparation program and in the Pre-Professional Specialization. The course focuses on the study of English grammar and punctuation and how to use that knowledge of the language to help to improve writing. That said, it is important to note that a century of empirical research and sound scholarship has shown that the study of grammar per se does not significantly improve the quality of a person’s writing. Anyone seeking to improve their writing should enroll in a writing course, not 300, or should visit the Writing Center. On the other hand, English teachers are expected to know English grammar, and developing metalinguistic awareness can help writers enhance their style and the application of composition knowledge to writing situations in various contexts. Because this section of English 300 probably will enroll a mix of TEP and Pre-Professional English majors, the course will divide into two separate emphases. For the entire class, the course will survey the nature of language and language study, language acquisition, and emergent literacy, and will devote a significant portion of the semester to learning English grammatical structures and punctuation through an extended analysis of a text composed by each student her- or himself. Later in the semester, however, the course will divide into two separate studies. TEP students will focus on learning about language variation and dialect and various strategies teachers can use to help students improve their grammar. These students’ learning will be assessed through several take-home examinations. Pre-Professional students will focus on stylistics and on improving their clarity and coherence. These students’ learning will be assessed early on through several take-home examinations and later through writings they submit for evaluation.
Section 1 RESTRICKED: EDUCATION MAJORS
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.
ENGLISH 301 INTRODUCTION TO LITERARY ANALYSIS Chandler, Costello and Dougherty
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.
Chandler’s section: Section 5
Required Texts: Defoe. Moll Flanders. Signet Classic. Penguin. Tennyson. Selected Poems. Dover Thrift Edition. Dover. Rossetti. Goblin Market and Other Poems. Dover Thrift Edition. Dover. Stevenson. The Strange Case of Dr. Jekyll and Mr. Hyde. Dover Thrift Edition. Dover. Kafka. The Metamorphosis and Other Stories. Dover Thrift Edition. Dover. Murfin and Ray. The Bedford Glossary of Critical and Literary Terms. Bedford/St. Martin’s. Aaron. Little, Brown Compact Handbook. 5th ed. Longman.
Requirements: Four critical essays of varying lengths (two using outside sources), with accompanying draft work; weekly reading quizzes; midterm exam, “chronic problems” quiz. Costello’s section: Sections 1 & 3Required Texts: Augustine. Confessions. Image/Doubleday. Baker. Mezzanine. Vintage. Beckett, Waiting for Godot. Grove. Homer. Odyssey. 2nd ed. W. W. Norton. Lively. Moon Tiger. Grove, 1997. Malouf. Imaginary Life. Vintage, 1996. Hall. Literary and Cultural Theory. Houghton Mifflin, 2001. Strand & Boland. The Making of a Poem. W. W. Norton, 2001. Campbell. Hero with a Thousand Faces. 2nd ed., Princeton University Press. Murfin & Ray. Bedford Glossary of Critical and Literary Terms. 2nd ed., Bedford/St. Martin’s. Requirements: Class participation, 10% Short writings (3-5 pages/week), 20% Tests (2 short-answer, passage identification, essay), 20% Analysis projects (3 short analyses 30%, 1 research project 20%)
Dougherty’s section: Section 4Banks. Rule of the Bone. Reprint. Harper Perennial. Equiano. The Interesting Narrative & Other Writings. Revised. Penguin Classics. Penguin. Blake. Favorite Works of William Blake. Dover Publications. Silko. Ceremony. Reprint. Penguin. Nealon. The Theory Toolbox. Rowman & Littlefield. In this course we will consider the process of “growing up,” as constructed in, through, and across literary genres, historical eras, and cultural contexts, in order to introduce students to the preoccupations and tools of contemporary literary studies. Requirements: Students will write six papers, including two requiring independent research, and give an oral presentation. Attendance and participation will also be considered in determining final grades.
ENGLISH 302A LITERARY HISTORY OF BRITAIN, BEOWULF TO CIVIL WAR Riedinger
Riedinger’s section: Section 2
Required Texts: Abrams, et al., eds. Norton Anthology of English Literature. Vol. 1A. The Middle Ages (or Medieval Period). 7th ed. W. W. Norton. Abrams, et al., eds. Norton Anthology of English Literature. Vol. 1B. The 16th and Early 17th Century. 7th 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. 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 Boulukos
The Norton Anthology of English Literature. Vol. C, The Restoration and Eighteenth Century. 8th ed. W. W. Norton. The Norton Anthology of English Literature. Vol. D, The Romantic Period. 8th ed. W. W. Norton. The Norton Anthology of English Literature. Vol. E, The Victorian Age. 8th ed. W. W. Norton. Equiano. Interesting Narrative. Sollors, ed. Norton Critical Edition. W. W. Norton.
This course surveys British literature from 1660 to 1900. Roughly a third of the course is devoted each to Restoration and 18th- 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.
Requirements: Midterm examination Final examination 5 page paper 5 prep papers (2 pages ea.) Attendance and participation
ENGLISH 303 LITERARY HISTORY OF THE UNITED STATES BEFORE 1900 Anthony, D.
Lauter, et al. The Heath Anthology of American Literature: Early Nineteenth Century: 1800-1865. Vol. B. 4th ed. Houghton-Mifflin. Foster. The Coquette. Oxford University Press, 1986. Rowson. Charlotte Temple. Modern Library Classics. Twain. Pudd’nhead Wilson. Penguin Classics. Penguin. James. Aspern Papers/The Turn of the Screw. Ed. Curtis. Penguin, 1984. Hawthorne. The Scarlet Letter. Ed. Baym. Penguin, 1983. Chopin. The Awakening and Selected Stories. Penguin Classics. Penguin. Dickinson. The Complete Poems of Emily Dickinson. Back Bay Books. Ridge. Life and Adventures of Joaquin Murieta: The Celebrated California Bandit. University of Oklahoma Press. Brown. Clotel, or the President’s Daughter. Penguin Classics. Penguin.
This course surveys American literature from its beginning to the end of the nineteenth century, with emphasis on selected major writers such as Hawthorne, Melville, Dickinson, Whitman, Stowe, and Twain, and cultural movements such as Puritanism, Romanticism and Realism as well as the writing of women and ethnic and minority groups.
ENGLISH 305 LITERARY HISTORY OF BRITAIN AND THE UNITED STATES, 1900 TO PRESENT Bogumil and Molino
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 section: Section 2
Conrad. The Heart of Darkness. Dover. Ward. World War One British Poets. Dover. Woolf. Mrs. Dalloway. Harcourt. McPherson. Dublin Carol. Dramatists Play Service. Faulkner. The Sound and the Fury. Vintage. Random House. Wilson. Two Trains Running. Samuel French. Shepard. True West. Samuel French. Mamet. The Crytogram. Dramatists Play Service. Hwang. Golden Child. Dramatists Play Service. Requirements: 8 critical analysis papers (5 pages plus/ 10 pts. ea./ total 80 pts); 2 tests (quotation identification and explication/ 10 quotations worth 10 pts. ea./ 100 pts. per test/ total 200 pts.) Molino’s section: Section 1 and 3
Eliot. The Waste Land and Other Poems. Dover. Yeats. Easter, 1916 and Other Poems. Dover. Faulkner. The Sound and the Fury. Vintage. Random House. Joyce. A Portrait of the Artist as a Young Man. Signet. Mukherjee. Jasmine. Grove. Smith. White Teeth. Vintage. Random House. Shaw. Major Barbara. Samuel French. Miller. Death of a Salesman. Dover. Blaisdell, ed. Imagist Poetry: An Anthology. Dover.
Requirements: Analysis assignments (2-3 pages each) on all plays and novels and four essay exams. ENGLISH 307I FILM AS LITERARY ART 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: 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. 6th 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 Fall 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 351 FORMS OF FICTION
ENGLISH 365 SHAKESPEARE Cudahy and Netzley
Cudahy’s sections: Sections 1 and 2Netzley’s sections: Sections 3 and 4
Greenblatt, et al, eds. The Norton Shakespeare: Based on the Oxford Edition. W. W. Norton How is the theater similar to surveillance, a mechanism for probing the interiority of characters like Hamlet? In what ways is such surveillance necessary to make persons free and autonomous? How |