Undergraduate Course Descriptions Spring 2010

Campuswide Gen Ed Common Core
ENG-A 190 — Arts, Aesthetics, and Creativity (3 cr.)           
4500                           MW                        1:00-2:15 P    Honors  - Permission required             Kelcey Parker
4257                        MW                        4:00-5:15 P                                                           
Topic:  The Work of Literary Art in the Age of Mechanical Reproduction
These days, if you write the Great American Novel (or think you have), all you have to do to get it published is go to a print-on-demand website, upload the file, and enter your credit card information. Voila!
In this class we will celebrate today’s technologies that make possible, in particular, the rise of personalized publishing, and independent literary presses (such as our own Wolfson Press). We will compose and print multiple copies of chapbooks and a class literary journal to share our writing with others, and we’ll publish work online to reach an even wider audience. But we will also celebrate what Walter Benjamin would call the “aura” of an original art object that cannot be reproduced. Benjamin says, “that which withers in the age of mechanical reproduction is the aura of the work of art…. By making many reproductions it substitutes a plurality of copies for a unique existence.” Thus we will create literary art objects that have a unique existence: altered books, collages, post cards between imagined characters, and handmade (even handwritten!) mini-books filled with our stories, poems, and ponderings. This is a project-based writing and art-making class that invites students without previous experience to explore artistic practices and concepts, including narrative collage, Pop Art, found texts, altered texts, erasure, and appropriation. We’ll read contemporary poetry and prose, and we’ll read from Walter Benjamin’s 1935 essay that inspired the course’s title.
ENG-A 190 — Arts, Aesthetics, and Creativity (3 cr.)           
4256            TR            11:30-12:45 P                               Nancy Botkin
Topic:  The Magic of Image
Contemporary society is a feast for the eye through the sensory details found in poetry as well as Hollywood movies. This is a course for budding aesthetes as we look at beauty in a variety of genres: poetry, print advertising, photography, and cinema. Students will explore what makes art so alluring, and learn to appreciate these genres by developing a more critical, intellectual eye. Some written assignments as well as two photography projects: self-portrait and urban/rural landscapes. Students should have access to a digital camera.
ENG-A 399 — Art, Aesthetics, and Creativity (3 cr.)
28040                        MW                        5:30-6:45 P                                                                        David Dodd Lee
Topic:  Poetry, Art, and the New York School: Autobiography, Perception, and the Radicalization of Narrative
In this class we will explore formal variations in contemporary poetry as a means for approximating reality, culture, and perceptions we might associate with the idea of the self.  From narrative poetry, to poetry that gives voice to “fields of consciousness,” we will explore the various ways poets arrive at fresh and authentic meanings, how the idea of the linear—narrative-- has given way to a more collage-like and improvisational language that uses startling juxtapositions, associative leaps, and original word placement on the page to get at larger, and seemingly more precise, autobiographical and cultural truths.  To aid our exploration we will also look at visual art, from the turn of the century to the present day, and the relationship the so-called New York School poets had with painters around the middle of the twentieth century.  Texts could include a poetry anthology, American Hybrid, a Norton Anthology of New Poetry, David Lehman’s The Last Avant-Garde, books on visual art, and several single authored books of poetry.  There will be objective tests on this reading.   Primarily, however, students should expect to write many many poems, culminating in a book-length sequence, combining narrative poems with collage poems using search engines and found text, and much improvisational work with collage and drawing, etc.  Experience in creative writing and art in general is a big plus in this class.
ENG-E 302 — Literatures in English 1600-1800 (3 cr.)
3240                        TR                        5:30-6:45 P                                                            Lee Kahan
Topic: “The World Turned Upside Down”
1.     Course of any thing that returns to the point at which it began to move. Milton
2.     Rotation in general; returning motion. Milton
                                                Samuel Johnson, A Dictionary of the English Language (1755)
Johnson’s definition of revolution illustrates the tension between new and old, “change” and “return,” that arguably defined the period between the English Civil War of 1644 and the French Revolution of 1789. This was, indeed, an age of revolutions—not only political but also economic and cultural—as eighteenth-century writers render explicit through phrases like “the Battle of the Books,” the “Revolution in Low Life,” and the “Revolution in Female Manners.” The instability of political and social  hierarchies during this period prompted Britons to question and to revise their  relationship to the past. Were they experiencing a break with history—the irrecoverable loss of some Golden Age?  Or was the “world turned upside down” (as one balladeer called post-Civil War England) only one stage in a “rotation” of history that would eventually “return to the point at which it began to move?” In this class, we will examine how a range of seventeenth- and eighteenth-century poets, dramatists and novelists grappled with such questions, as they contemplated the fall of kings, the founding of new nations, the waning of aristocratic privilege, and the rise of a new middle class. We will pay particular attention to how these writers’ explicitly or implicitly associated political or cultural revolutions with literary ones, as when Milton claimed that his epic history of Satan’s “foul revolt” against his King would recover the “ancient liberty … of Heroic Poem from the troublesome and modern bondage of rhyming.”  How are these two forms of revolt related?  Such questions about the interrelation of form, content and culture will preoccupy us throughout the semester, as we explore how literature was itself turned upside down during this tumultuous period. Requirements will include two papers, short weekly responses to the readings, a midterm exam, and a final exam.
ENG-E 303 — Literatures in English 1800-1900 (3 cr.)
3241                        TR                        2:30-3:45 P                                                            Rebecca Brittenham
Topic:  A Century of Hauntings
This survey of Victorian British literature will include novels, poetry, short stories, and non-fiction prose from the Gothic up to WWI Invasion literature. We will explore some of the century=s concerns about the public and private self, the conflicted boundary between the natural and the supernatural, the effects of the industrial revolution, the possibilities and problems of scientific progress, shifting gender and class divisions, and the difficulty of maintaining a coherent national identity in the midst of imperial sprawl. In particular, we will examine how many of these concerns were imaginatively figured through literary devices such as ghostly apparitions, menacing foreigners, and other-worldly visitations—all the ways in which this became a haunted century.
ENG-G 205 — Intro to the English Language (3 cr.)
3244                        TR                        11:30-12:45 P                                                            Ann Bridger
3245                        TR                        2:30-3:45 P                                   
Elementary phonetics, phonology, and grammatical analysis: historical and comparative linguistics: language variation; English language as considered in relation to other languages.
ENG-G 302 — Structure of Modern English (3 cr.)
26102                        TR                        7:00-8:15 P                                                            Bobby Meyer-Lee
(combined with ENG-G 552)
             This course will involve an intensive study of the grammar of Modern English—not prescriptive grammar in the sense of “correct English,” but rather descriptive grammar in the sense of the inner workings, or syntactic and morphological mechanisms, of the living language that we actually speak and write.  We will also read about and discuss the social constructions of Standard and Non-Standard English, and the implications of these constructions for individual identity and teaching.  Graduate students enrolled in ENG-G 552 will—in addition to completing all work in the undergraduate course—complete assignments addressing other aspects of linguistics (for example, phonology), meet several times for an extra hour after class to discuss these assignments, and complete a significant end-of-term project. 
ENG-L 202 — Literary Interpretation (3 cr.)
4147                        MW                        11:30-12:45 P                                                            Chu He
 This course offers an introduction to literary study, including the key terms, concepts, and theories involved in literary interpretation. We will read from a variety of genres, including short fiction, drama, poetry, and novel, and discuss their formal features and characteristics and how different forms shape meaning. We will also learn about the core literary theories such as New Criticism, Feminism, Post-colonialism, etc, and how different critical approaches render different meanings to the literary works. Classes will primarily be centered upon discussion and writing, through which we will learn to analyze and interpret literary works, apply literary theories to reading and writing, and formulate arguments about a literary text.
ENG-L 202 — Literary Interpretation (3 cr.)
3246                        TR                        10:00-11:15 A                                                            Anne Magnan-Park
This course is designed to equip you with a set of tools that will enable you to critically engage with literature; you will learn how to read, think, and write about a wide range of literary works stemming from different historical periods and cultural contexts. Through a series of discussions, formal and informal writing exercises, and presentations, you will become familiar with a large set of formal elements pertaining to different genres so as to read, analyze, and interpret these works. We will also discuss how these works converse with one another through the authors’ creative use of these formal elements. Additionally, you will be introduced to a range of literary theories that will enhance your understanding of the texts and further your ability to create meaning. The different literary schools of thought that will enrich our journey through the complex weave of literary voices include New Criticism, postcolonial studies, and feminist theory. The formal writing assignments include close reading analyses and a final research paper where you will demonstrate your ability to interpret a text while engaging with literary theory.
ENG-L 207 — Women and Literature (3 cr.)
4114                        MW                        8:30-9:45 A                                                            Jake Mattox
(combined with WOST-L 207/4124)
Topic: Protest Writing
This course will offer a selected survey of women’s protest writing in the United States from the nineteenth to the twenty-first centuries. We will analyze works with specific attention to their historical and cultural contexts, and course materials will include fiction, non-fiction, poetry, film, and autobiographical writings. We will investigate how different genres and forms of “literature,” broadly conceived, are used strategically to enact direct and/or implicit critiques of social, political, and cultural conditions. We will also examine how questions of gender affect key issues in women’s writing, from access to publishing to expectations about genre and form. Authors and works studied might include Harriet Beecher Stowe’s Uncle Tom’s Cabin, Harriet Jacobs’s slave narrative (1861); Ida Wells’s essays on lynching; Muriel Rukeyser’s activist poetry; Miné Okubo’s Citizen 13660, an illustrated account of life in Japanese internment camps; Angela Davis’s essays on prison, race, and gender; and Anna Deavere Smith’s Twilight: Los Angeles, a multi-perspective account of the 1992 Los Angeles Rebellion written for the theater.
ENG-L 222 — Intro to Literary Criticism (3 cr.)
3247                        MW                        5:30-6:45 P                                                            Karen Gindele
Current literary and cultural theory is composed of works from many disciplines which we, as critics, use to analyze and evaluate the content, form, and language of imaginative literature.  The main purpose of this course is to introduce you to such theories; I’ll have to assume that you have a fairly developed knowledge of the concerns and methods of the study of literature such as you might get in L202, Literary Interpretation.  We’ll read some of the founding texts of Marxist theory, psychoanalysis, feminism, race relations theory, a bit of colonial and postcolonial theory, deconstruction, and poststructuralism, and we’ll read literary criticism which uses these theories.  We’ll focus especially on theories of identity determined by gender, class, and race, both in psychoanalytic and broader cultural terms, and on an individual person’s relation to power and the social order.  We’ll start out applying some analytical theories to poetry and then to three novels, Wilkie Collins’s The Moonstone, Virginia Woolf’s To the Lighthouse, and Kazuo Ishiguro's The Remains of the Day. There will be three formal papers (one short and two of medium length (5 pp.) in which students will use theories to analyze the literary texts and several informal response papers on the theoretical texts.  The class will operate primarily by discussion, and students themselves, in small groups, will lead a discussion once during the semester. 
ENG-L 358 — Twenthieth Century American Fiction (3 cr.)
26104                        TR                        2:30-3:45 P                                                            Eileen Bender
As 21st century Americans. our collective sense of national character and aspiration has been strongly influenced by 20th century American authors, women and men intent on rediscovering and perhaps reinventing our identity as a people. In this class, we will critique, compare, and enjoy the novels and short fiction of some of our greatest contemporary writers: from the fading American dreams of Fitzgerald and Cather to the  nightmares of Ozick; from the radical realism of  Olsen, Roth and Oates to the wry and resilient native spirit alive in the work of Alexie and Erdrich.  Students will write, discuss, and present short papers and develop a term paper project.
ENG-L 376 — Literature for Adolescents (3 cr.)
4336                        TR                        11:30-12:45P                                                Mary Anna Dimitrokopoulos
A survey of the challenging, sometimes controversial, literature written about and for young adult readers. A wide range of readings, with discussion topics that include “problem” fiction, fantasy and escapism, and censorship.
ENG-L 390 — Children’s Literature (3 cr.)
3249                        MW                        2 :30-3 :45 P                                                            Smiljka Cubelic
This course challenges students to develop as critical readers and “informed critics” who engage in serious, meaningful, and structured discussion of children’s literature from intellectual, moral, and aesthetic point of view. A portfolio system is based on the checklist of semester-long assignments which are designed to develop your analytical skills in a gradual manner.    
ENG-L 390 — Children’s Literature (3 cr.)
3250                        T                        5:30-8:00P                                                            Tracey Thomas
Historical and modern children’s books and selections from books; designed to assist future teachers, parents, librarians, or others in selecting the best in children’s literature.

ENG-L 450 — Seminar: British and American Authors (3 cr.)
26105                        W                        7:00-9:30P                                                            Lee Kahan
Reserved for Seniors
Topic: Fast, Cheap, and Out of Control: Re-forming the English Novel, 1700-1820
In 1750, Samuel Johnson (author of the first dictionary of the English language) defined a novelist as
an “innovator and an “assertor of novelty.”  Novelists did indeed trumpet the novelty of their work as one of its selling points, but not all readers were as ready to praise this innovation as Johnson (who, incidentally, was a novelist himself). In the early eighteenth-century, this upstart literary form was accused of promoting sexual promiscuity, class mixing, and crime, among other immoral behaviors.  By the early nineteenth century, though, the novelist had become not only a respectable figure but also an arbiter of taste and morality.  What changed in the interim? This course will examine the cultural debates surrounding the morality of the eighteenth-century novel and how its writers attempted to establish it as a respectable genre, mostly by critiquing past novels that they nonetheless continue to replicate in subtle ways.  Our goal will be to see how the characteristics that came to define the modern realist novel—interiority, character depth, verisimilitude, and even length—were the products of vigorous cultural debate and were ultimately “invented” less for aesthetic reasons than as a response to the perceived moral needs of readers. Novels will likely include M.M. Lafayette’s Princess de Cleves, Daniel Defoe’s Roxana, Samuel Richardson’s Pamela, Henry Fielding’s Shamela, Henry Mackenzie’s The Man of Feeling, Jane Austen’s Sense and Sensibility, Horace Walpole’s Castle of Otranto, and Sir Walter Scott’s Ivanhoe. Note: In line with Johnson’s other definition of the novel as “a small tale,” several of these works are less than 100 pages long (one is only 40), so don’t let the number of novels scare you away.  Grades will be based on an article-length research project and a series of assignments leading up to it, including a prospectus (4-5 pages) and a conference-length (6-8 page) draft of the paper.
Campuswide Gen Ed Common Core
ENG-T 190 — Literary & Intellectual Traditions (3 cr.)
4033                        MW                        11:30-12 :45 P                                                            Shawn Nichols-Boyle
Topic:  Everybody’s Irish: Uncovering Plastic Paddys and “Real” Irishmen
Whatever happened to the Ireland of thatch cottages, fairies, giants, wakes, and dances? “Modern” Irishmen and women have been asking this question as far back as the nineteenth century when the Irish countryside was being transformed by the introduction of the English language and culture, and most importantly, the setting down of stories told around the fireside into print. This course will explore how some of the first Irish authors in English were able to capture the tall tales and voices of the last of the traditional Irish storytellers in writing. Most of our current views of the Irish come from these early stories, but how accurate is the stereotype of the poor, drunk, short-tempered, yet lovable Paddy? We will read literature and historical accounts, as well as watch selections from films such as The Quiet Man and Darby O’Gill and the Little People, to discover the complex image of the Irishman in print and how it has been manipulated and reproduced over time to create the “real” Irish.
ENG-T 190 — Literary & Intellectual Traditions (3 cr.)
4503                         TR                        1:00-2:15P                                                            Lee Kahan
Topic:  Castaways
            The story of an individual stranded on a tropical island, forced to rely for survival on nothing but the fruits of the earth and his or her own ingenuity, has become a foundational myth of modern society.  It has been rewritten countless times over the last 300 years, from Daniel Defoe’s Robinson Crusoe (1719) to the recent Tom Hanks film Castaway (2000) to hit TV shows like Survivor and Lost.  Why do we remain so fascinated with the figure of the castaway?  What does it tell us about the modern individual and his or her relationship to society?  What do the changes in this story, as it has been recast for audiences of different time periods, tell us about the evolution of that society (or about the way we view it)?  These are the kinds of questions that we will attempt to answer as we read selections from three centuries of castaway tales.
ENG-T 190 — Literary & Intellectual Traditions (3 cr.)
4741                        MW                        5:30-6 :45 P                                                            Clayton Michaels
Topic:  Women in Refrigerators and Beyond: A Feminist Approach to Reading Comic Books
About ten years ago, Gail Simone, who is one of the few women writing mainstream comics, put together a website called ‘Women in Refrigerators’ ( that’s essentially a list of all the awful things that the primarily male writers of comics have done to their female characters. The title comes from a Green Lantern comic where Kyle Rayner comes home to find that one of his super villain foes has dismembered his girlfriend and left her in his refrigerator for him to discover. This kind of treatment of women in comics has come to be called ‘Women in Refrigerator Syndrome.’ In this class we will, in a very broad sense, look at the way women are portrayed in comic books. The semester will be split between reading books by male writers like Brian Michael Bendis, Alan Moore, and the Luna Brothers, and female writers like Devin Grayson, Jodi Picoult, and Gail Simone. We’ll draw most of our theoretical framework from feminist film studies, and we’ll be watching a few (non-comic) films, like Hitchcock’s Vertigo, to help us see how to give a feminist reading to a visual text, which, in many ways, is exactly what comic books are. Students will be expected to write essays, take two exams, and do one group presentation. 
ENG-T 190 — Literary & Intellectual Traditions (3 cr.)
4742                        TR                        10 :00-11 :15 A                                                            Chu He
Topic:  The Outcast
The image of the outcast has captured many writers’ imagination, for it raises interesting questions about the relationship between individual and society. In what ways are the outcasts different from other people? Why are they excluded/rejected by the society? Do they pose problem, harm, or danger to the society? Do they challenge/critique social conventions and traditions? How do they view their own marginalized condition? Are they seeking for social acceptance or insisting on their own isolation? By reading writers from a variety of racial and ethnic backgrounds, we will explore the issues of social boundaries, cultural definition, individual freedom and independence, and the price paid to be assimilated or excluded in a society.
ENG-T 190 — Literary & Intellectual Traditions (3 cr.)
4499                        TR                        10:00-11 :15 A                                                               Jake Mattox
4032                        TR                        11:30-12 :45P                                                     
Topic:  Beyond Cowboys and Indians: Myths of the U.S. West
The story of the U.S. West has been told in countless ways: as conflict between advancing civilization and disappearing “savage,” as site of individual self-discovery or transformation, as a locus of unfolding national or universal progress, or more recently, as site of struggle over issues such as immigration, race, and gender. In this course we will ask how the West has been portrayed at different times and what functions such portrayals might serve. In examining these questions, we will read literary and historical accounts and view selected films and ask how and why the West has proven so important to understandings of U.S. history and culture.
ENG-T 190 — Literary & Intellectual Traditions (3 cr.)
4034                        T                        6:30-9 :00 P                             ELKHART                  Jackie Collins
Topic:  Stories of the Dysfunctional Family
The course focuses on the repetitive pattern of dysfunction in family groups from the ancient Greeks to modern writers. The class will analyze the causes of socially dysfunctional actions and the effects on family members and the surrounding society. We’ll study dysfunctional characters in literary works and film with the help of some psychological texts. We will examine the difficulty of breaking out of dysfunction and investigate ethical consequences of characters’ actions. How are the destructive consequences of dysfunctional acts treated by the authors in this course? How does modern society view such acts? Can dysfunctional acts be explained away by fate or birth? Where does responsibility reside?
ENG-T 191 — World Literary & Intellectual Traditions  I (3 cr.)
4388                        TR                        1:00-2 :15 P                                                            Bobby Meyer-Lee
Priority given to Education students
Topic: Heroes in Ancient and Medieval World Literature
Three boys without a father:  one finds a sword in a stone, one is given a light saber, and one is chosen by a wand.  All become heroes.  The significance of these and many other similarities among such tales of heroes—as well as of their important differences—is the topic of this course.  The focus, in particular, will be on heroic legends from the ancient and medieval eras, ranging across time and space from 4000 years ago in Mesopotamia (Gilgamesh), to 2500 years ago in India (the life of the Buddha), to 500 years ago in England (Sir Thomas Malory’s account of King Arthur).  Throughout, we will reflect on apparent continuities among these stories as well as the vast differences in culture that they carry, and we will think about the cultural functions of heroic legends in general.  And, yes, we will also talk about how the Star Wars and Harry Potter sagas fit into the long tradition of heroic literature.
ENG-T 192 — World Literary & Intellectual Traditions  II (3 cr.)
4387                        MW                        10:00-11 :15 A                                                            Jackie Collins
Priority given to Education students
Topic:  The Quest Myth in World Literature After 1700
                         The course will investigate the myth of the heroic quest in Western and non-Western literature from the Renaissance to the modern era.  The story of the hero’s quest is central to all myth.  The mythic quest for the Holy Grail will serve as the starting point for our course.  The Grail quest delineates the hero’s journey toward self and cosmic integration.  In the novels and plays included in the course, we will follow the hero’s     journey toward self-discovery and social redemption or failure and examine the ways in which the archetypal quest myth is transformed by the individual storytellers.  In addition, through the hero’s quest, which is at once personal, national and cultural, we will investigate differences between Western and non-Western literature.  Secondary texts will focus on comparative mythology.
ENG-T 390 — Literary & Intellectual Traditions (3 cr.)
4691                        M            5:30-6 :45 P                                         ELKHART                        Kate Wolford
Topic:  The Trouble with Beauty in Fairy Tales
Can our unrealistic ideas about beauty be laid at the dainty feet of fairy tales? In fairy tales "beauty" is often equated with good character and "ugliness" with evil. And influential social roles in fairy tales are hardly confined to pretty princesses. Witches, Princes Charming, and Trickster heroes are also stock characters in fairy tales and have their own complicated impact on culture. This course will explore the ethical implications of the content, art, and history of fairy tales from several cultures and traditions. By exploring tales such as “The Little Mermaid” through the primary text by Hans Christian Andersen, illustrations by 19th-century artists like Edmund Dulac, and the powerfully popular Disney movie of the late 20th century, we’ll delve into the impact such tales have on society. Are they worth telling? Are they good for children? What ethical responsibilities do illustrators, fairy tale authors, and interpreters have in transmitting fairy tales? Using approaches from the disciplines of art history, literary criticism, and social history, we’ll try to find the answers. This course will focus on improving student writing and research skills. Three papers, an annotated bibliography and regular online entries on a class-focused blog will be required
ENG-T 390 — Literary & Intellectual Traditions (3 cr.)
4504                        TR                        1:00-2 :15 P                                                         Rebecca Gerdes
Topic: Retelling and Reinventing: The (Not So) Subtle Art of Adaptation
What happens when a novel becomes a movie?  In the process of reimagining a text the screen writer makes numerous choices that subtly (and not so subtly) change the story.  This is a class that will investigate recent reinventions of the adaptation.  While adaptations have traditionally tried to adhere the original text in some fundamental ways, a handful of recent adaptations use the original text more as a place of a departure than as a final destination.  In order to investigate this shift in adaptation we will read some of the most successfully and most commonly adapted texts (tentatively Pride and Prejudice, Dracula, and an excerpt from The Orchid Thief-though this list is subject to change).  After examining those texts we will investigate their various adaptations.  While some adaptations with be faithful, some reinvented, and some multiplied (meaning we will view various adaptations of the same source text) we will investigate the goals, techniques, and meanings of each in search of a deeper understanding of this evolving artistic strategy.
ENG-W 031 — Pre-Composition (3 cr.) S/F graded
                         This course prepares students for college writing at the W130 level by focusing on fundamental writing skills in an academic context; in particular, summary, analysis, and synthesis.  We will study writing as an interpretive act, organization as the logical progression of ideas, and grammar as the effective conveyance of meaning.  Students will learn revision as the thoughtful development of ideas and editing as the direct and accurate presentation of those ideas.
See Schedule of Classes on OneStart ( for days and times.
ENG-W 130 — Principles of Composition (3 cr.)
                         In this course, students should become more confident as interpreters of college-level reading and will become well-prepared for W131.  Students will also gain a wider range of tools for interpreting academic texts and for developing their ideas in relation to those texts.  We will focus on using summary, analysis, and synthesis to produce thoughtful, organized, theory-driven essays, and will continue to work on organizational strategies and effective language use within that context.
See Schedule of Classes on OneStart ( for days and times.
ENG-W 131 — Elementary Composition (3 cr.)
In this course, students will expand their range of strategies for interpreting academic texts, for developing their ideas in relation to those texts, and for expressing those ideas in thoughtful, organized, theory-driven essays, while continuing to work on the effective organization and presentation of those ideas.  W131 addresses these goals at a more challenging level than W130 and includes an introduction to college-level research writing.
See Schedule of Classes on OneStart ( for days and times.
ENG-W 203 — Creative Writing (3 cr.)
3301                        MW                        2:30-3:45 P                                                            David Dodd Lee
3944                        TR                        11:30-12:45 P
This class will introduce students to the process and techniques of creative writing, including brainstorming, imitation, and collage techniques in poetry. Students will write both poetry and fiction--starting with the lyric poem, moving along to the prose poem, and ending with the short story. Class readings will expose students to various writing styles and provide examples of successful writing by contemporary poets and fiction writers. Class time will be spent discussing the writer's craft, assigned readings, and student writing. 
ENG-W 231 — Professional Writing Skills (3 cr.)
This course challenges students to explore the distinctive uses of reading and writing as critical thinking and problem-solving methods for a variety of professional fields. Even though this type of writing shares some of the basic skills of organization, paragraph development, sentence structure, and accurate word choices with previous writing classes, it focuses on the process of producing logical and compelling arguments for different professional contexts. Students will work with two portfolios, paragraph development, sentence structure, and accurate word choices with previous writing classes, it focuses on the process of producing logical and compelling arguments for different business contexts. Students will work with two portfolios, one individual and one collaborative, based on two checklists of specific requirements.
See Schedule of Classes on OneStart ( for days and times.
ENG-W 232 — Intro to Business Writing ( 3 cr.)
This course challenges students to explore the distinctive uses of reading and writing as critical thinking and problem-solving methods for business organizations. Even though this type of writing shares some of the basic skills of organization, paragraph development, sentence structure, and accurate word choices with previous writing classes, it focuses on the process of producing logical and compelling arguments for different business contexts. Students will work with two portfolios, one individual and one collaborative, based on two checklists of specific requirements.
See Schedule of Classes on OneStart ( for days and times.
ENG-W 234 — Tech Report Writing (3 cr.)
3317                        MW                        7:00-8:15 P                                                            Brad Volheim           
            Instruction in preparing technical proposals and reports, with an introduction to the use of graphics.
ENG-W 250 — Writing in Context  (1 cr.)
30898                        F                        12:00-12:50 P                                                            Ken Smith
            Topic: Writing for Radio           
Permission required
ENG-W 270 — Argumentative Writing (3 cr.)
This course challenges students to explore the distinctive uses of reading and writing as critical thinking and problem-solving methods for business organizations. Even though this type of writing shares some of the basic skills of organization, paragraph development, sentence structure, and accurate word choices with previous writing classes, it focuses on the process of producing logical and compelling arguments for different business contexts. Students will work with two portfolios, one individual and one collaborative, based on two checklists of specific requirements.
See Schedule of Classes on OneStart ( for days and times.
ENG-W 280 — Literary Editing & Publishing (3 cr.)                       
30771                        T                        5:30-6:45P                                                            David Dodd Lee
Permission required
This class is designed to educate students by exposing them to contemporary writing as it goes through the process—from mailbox to published book—of being judged and selected for publication.  During class time students will read and critique manuscripts submitted to Wolfson Press for possible publication.  We will focus on the mechanics and ethics inherent in any editorial endeavor that includes selection as part of its process.  (And this process of selection and debate will take place exclusively in the classroom--students will not be allowed to take unpublished manuscripts home, for instance.) Not only will students learn, through examples brought to light by the instructor, how to screen manuscripts based on aesthetic ideas, but they will also be instructed in the nuts and bolts of dealing with manuscripts in a professional and judicious manner.  Additionally, students will learn some fundamentals of publishing including editing, marketing, correspondence with writers and other presses, and principles of layout and design.  Interpersonal skills will be emphasized (as part of the process of disagreement and consensus) as we begin to focus on the aesthetic aspects of contemporary writing through the prism—a cross-section, so to speak—of styles of writing reflected in the submitted manuscripts.  From more theory-driven, avant-garde works to more relatively mainstream works—post-confessional and simple narrative—students will examine the various stances and approaches available to the contemporary writer, as well as the hybridization of genres and styles that is currently part of the literary landscape. 
ENG-W 301 — Writing Fiction (3 cr.)
26108             TR            4:00-5:15P                              Kelcey Parker
Topic:  Magic, Ghosts, and Reality
In this class we will read and write realist stories, magical realist stories, and even “Victorian” ghost stories. In doing so we’ll explore some of the variety of forms and traditions available to today’s writers, and we’ll challenge ourselves to “make it new.” This is a writing workshop, so a significant portion of the course will be devoted to reading and discussing one another’s work. We will also discuss the current literary market and the life of a writer. Students will write and revise 30-35 pages of creative work, along with 1-2 short essays.
ENG-W 367 — Writing for Multi-Media (3 cr.)
4607             MW            4:00-5:15P                              Shawn Nichols-Boyle
            Introduces principles and practices of multimedia design and implementation, with emphasis on writing in multimedia contexts. Students will consider ways that new media affect the production and reception of writing and its relationship to other forms of communication (e.g. oral and visual).                       
Comparative Literature
CMLT-C 190 — Introduction to Film (3 cr.)
4205                        TR                        1:00-2:15P                                                            Andrew DeSelm
Study the nature of film technique, film language, film form, analysis of specific films, and major historical, theoretical, and critical developments in film and film theory from the beginnings of cinema to the present.
CMLT-C 294 — History of Motion Pictures II (3 cr.)
4491                        TR                        4:00-5:15P                                                            Andrew DeSelm
This global survey of film history moves from the middle of the twentieth century to the present moment. In this course, students will develop interpretive skills relevant to the study of film by examining the history of several major film movements. Lectures, readings, and writing assignments will address critical positions on cinema and strategies for understanding and interpreting film form.