FALL 2009 ENGLISH DEPARTMENT COURSE GUIDELINES AND DESCRIPTIONS

(For courses without descriptions, see University catalog.)

 

KEY TO COURSE GUIDELINES

English Major (incl. Elem. Ed)	Teacher Ed. (K-12)
1a = Lit. Pre-1800 (ENGL or ENLT)	TE 1a = Shakespeare
1b = Lit. Pre-1900 (ENGL or ENLT)	TE 1b = British Lit.
1c = Lit. (ENGL or ENLT)	TE 1c = American Lit. Pre-1900
1d = Lit (ENGL or ENLT)	TE 1d = American Lit.
2 = Writing Intensive	2= Writing Intensive
3= Genre (Drama, Fiction, Film, Poetry)	TE 3a = Genre (Film)
4a = Multinational	TE 3b = Genre (Poetry)
4b = Minority Writers	TE 3c = Genre (Drama or Fiction)
4c = Women Writers	4a = Multinational
4d = Gender Studies	4b = Minority Writers
4e = Class Issues	4c = Women Writers
	4d = Gender Studies
	4e = Class Issues
	TE 5 = Study of  English Language

 

ENFL208  INTRODUCTION TO FILM

 

Simon  Sec 01 R 10am to 12:50 pm

Cutler  Sec 02 R 2:30 pm to 5:20 pm

Lykidis Sec 03 W 5:20 pm to 8:20 pm

Satisfies: 3 and TE 3a (Film), 4a Multinational; also satisfies GER Fine Arts Req’t

 

The movies are a constant and powerful part of our daily environment, a source of immense social, economic, and political influence. Film is without question the premier art form of this century, yet films are rarely discussed or studied in primary or secondary school education. This course looks at film not only as an object of intense fascination but as an aesthetic system with its own complex histories, and its heightened relationship to the social conditions under which it is produced and consumed. Into to Film surveys the development of Hollywood commercial films as well as crucial moments of film experimentation in Europe and America. It provides the beginning student with the tools to look at and critically interpret contemporary motion pictures as they appear in theatres and on TV. It increases awareness of how movie images manipulate our emotions, behaviors, and attitudes.

 

ENFL 250 MAJOR FILM DIRECTORS
Art Simon   Sec 01  T 2:30 pm to 5:20 pm
Satisfies 3 and TE 3a (film), 4d (gender) and 4e (class)

This semester Major Directors will focus on the work ofthree filmmakers: Fritz Lang, Billy Wilder and Nicholas Ray. Our focus will beon their most significant work from the studio era between 1945 and 1960. Inparticular, we will examine the intersections of authorship and genre to seehow, in all three cases, each director produced a cinema that combined cynicismand disillusionment. All three directors stood some distance from post-waroptimism and used the melodrama, western and social problem film to subtlyquestion the affirmative voices echoing elsewhere in the culture. Films likelyto be screened include: Clash By Night, RanchoNotorious, In A Lonely Place, The Lusty Men, Sunset Boulevard and Acein the Hole. Active participation in classdiscussion will be expected. There will be a mid-term essay asking you toanalyze the visual style of selected films and a final paper.  

 

ENFL 490  SPECIAL TOPIC: WOMEN AND GENDER IN FILM

 

Lykidis  Sec 01  M 2:30 pm to 5:20 pm
Satisfies: 3 and TE 3a (Film), 4c Women and 4d Gender

 

This course will provide a global survey of female representation and authorship in cinema. The first part of the course will consider the dimensions of patriarchal representations of women, engaging with feminist film theorists who have sought to deconstruct the gendered language of classical Hollywood cinema. Next we will survey responses by female filmmakers around the world to dominant representations of gender difference, engaging with popular narrative, art cinema, avant-garde and documentary modes. The course will also consider the gendered dynamics of popular film genres such as horror and action. Finally, we will investigate the intersections between gender and sexuality, exploring the way cinema is particularly suited to the expression of both repression and desire. The objective of the course is to provide students with a survey of feminist theories that pertain to questions of representation and visual culture. Student grades will be based on class participation, film responses posted online, a midterm and a final paper. Screenings will include Vertigo (Alfred Hitchcock, 1958), Cleo from 5 to 7 (Agnès Varda, 1962), Wanda (Barbara Loden, 1970), The Exorcist (William Friedkin, 1973) and Paris is Burning (Jennie Livingston, 1990).

 

 

ENGL200  THE PURSUITS OF ENGLISH

 

Satisfies: University Graduation Requirement in Writing for English Majors

Liebler Sec 01 M 11:30  W 11:30 – 1:35 pm

Nicosia Sec 02 M 11:30 W 11:30- 1:35 pm

Cutler Sec 03  T 11:30  R 11:30- 1:35 pm

Nash Sec 04 T 11:30  R 11:30- 1:35 pm

Lewis Sec 05 T 11:30 R 11:30 -1:35 pm

 

See Catalog

 

Whitney Sec 06 T 11:30 R 11:30 -1:35 pm

 

 

The Pursuits of English. Prerequisites: ENWR 106 or HONP 101; English majors only. An inquiry into what constitutes contemporary literary study: its subject matter and its underlying goals and methods. Students study literary and cinematic texts of various genres, as well as literary criticism and theory; inquire into the nature of authorship and of texts; examine and expand their ways of reading, interpreting, and writing about texts; trace the relation of literary criticism to theory; consider the relation of literary study to issues of power; and develop independent habits of thought, research, discussion, and analytic writing that are informed by literary theory and criticism. Meets the University Writing Requirement for ENCW, ENED, ENEL and ENGL majors. 4 hours lecture.

 

ENGL226- LITERATURE OF THE AMERICAN RENAISSANCE

Elbert    Sec 01  T 5:30 – 8pm
Satisfies: 1b, TE 1c, 4d Gender, 4e Class

 

This course will introduce you to one of the most fruitful periods of American literature, the American Renaissance (ca. 1830-1860), through a study of canonical and non-canonical texts, and help you understand how these writers created an American tradition, different from that of their English forebears. Special emphasis will be placed on historicist, feminist, gender, and class approaches to the texts, ranging from Hawthorne's THE SCARLET LETTER or THE BLITHEDALE ROMANCE to Lydia Maria Child's HOBOMOK or Louisa May Alcott's MOODS. A unit on Transcendentalist thought (and writers) will also be included. This course might also be called "American Romanticism."
Course requirements include: one short paper (5 pp.), one longer research essay (8 pp.), one midterm and one final exam, and some informal writing assignments. Class participation is required.

ENGL234  AMERICAN DRAMA

Slocum Sec 01 M 5:30 pm
Satisfies: 1c, TE 1d, 3(Drama), 4e Class

A survey of representative 20th c. American drama, with particular emphasis given to the plays of O'Neill, Miller, and Williams. Course Requirements: two short (5 page) papers, a Midterm Exam, and a Final Exam.

 

ENGL238  BLACK WRITERS OF THE U.S.: A SURVEY

Schwartz    Sec 01
Satisfies: 1c, TE 1c, 3(Fiction), 4b Minority, 4e Class

This survey course spans the 18th to the 20th centuries. There will be significant attention devoted to the slave experience as portrayed in the slave narratives and to the historical understanding of slavery and racism. From this base, the course will focus on classic writers (in fiction, poetry, and essay) who represent the African-American tradition, and further on how that tradition is part of the American literary experience. The goal is to set literature and literary matters into a social and cultural context. The readings have not yet been selected but representative writers are: Douglass, Jacobs, Washington, Chesnutt, Johnson, DuBois, Wells-Barnet, Hurston, Hughes, Wright, Ellison, Petry. The specific reading list will be posted on BB.

ENGL 240   ENGLISH LITERATURE I: BEGINNINGS TO 1660

Furr      Sec 01     R  5:30 - 8:00 pm
Satisfies: 1b, TE 1b, 4e Class

We'll read and discuss some of the greatest classics of British literature from the Old English to the end of the Republic. Representative works and authors include: Beowulf, Middle English lyrics, Chaucer, the Gawain poet, /Everyman/, /The Second Shepherd's Play/, Thomas More's /Utopia/, Wyatt, Surrey, Christopher Marlowe, /Doctor Faustus/, Shakespeare's plays and sonnets, Edmund Spenser, Queen Elizabeth I, the Metaphysical poets, the Cavalier poets, John Milton, protest writings of the Civil War era.

ENGL240 ENGLISH LITERATURE I: BEGINNINGS TO 1660

Nash  Sec 02 TR 2:30 PM
Satisfies: 1a, TE 1b,  3 and TE 3b (Poetry), 4d Gender

In this course we read and compare literary works stretching over almost a thousand years of English history: from the middle ages to the seventeenth century. The goal is to appreciate each work by understanding it in relation to its own era and in comparison to works of earlier and later times. The reading list includes Beowulf, The Canterbury Tales, Sir Gawain and the Green Knight, Henry IV Part One, Paradise Lost, and lyric poems by Chaucer, Spenser, Shakespeare, Jonson, Donne, and others.  Requirements include midterm and final essays, occasional quizzes, and a one-page prep sheet for each class. 

ENGL 241: ENGLISH LITERATURE II: 1660 TO THE PRESENT

Galef  Sec 01 MW 1 pm
Satisfies: 1b, TE 1b, 4c

This course is a survey of British literature that covers the Romantics, the Victorians, the Modernists, and after. Sample authors may include Wordsworth, Keats, Mary Wollstonecraft, Tennyson, the Brownings, Dickens, Conrad, Woolf, Beckett, and Larkin, among others. Students should be prepared for a midterm, a final exam, two short papers, and an emphasis on class performance.

 ENGL 256  ENGLISH NOVEL TO 1900

Matthew Sec  01 MW 10:00 am
Satisfies: 1b, TE 1b, 3 (Fiction), 4d Gender, 4e Class

 

Moral leaders in eighteenth-century England met the “arrival” of the novel with skepticism and alarm. In the first place, they argued, novels were made up and writing fiction was equated with lying. Additionally, the “lies” that made up eighteenth-century fiction portrayed women and men engaging in bawdy behavior. Early English novelists reveled in talking about bosomy women and the men who pursued them or innocent young men being seduced by busty wenches. Later novels avoided depicting licentious behavior, but they concerned themselves with the same themes: relationships, class mobility and its connection to conduct, and, of course, gender. Our modern notions of gender and class are rooted in the cultural conversation begun centuries ago. Over the course of the semester we will trace these ideas change from the mid 18th century when the novel was a new form treated with a great deal of suspicion to the Victorian era when class mobility was not just a possibility but a real goal.

 

ENGL-260  ART OF POETRY

McDiarmid Sec 01 TR 1pm
Satisfies: 1c, 3 and TE 3b(Poetry)

See Catalog.

ENGL 324 AMERICAN POETRY TO 1940

Lorenz Sec 01 MW 1pm
Satisfies: 1c, TE 1d, 3 and TE 3b (Poetry)

The class will encourage students to engage in poetry's electric stream of language with their own imaginative questions and insights.  We will begin with Walt Whitman's sprawling, sensual lists and Emily Dickinson's controlled, devastating verses.  Poetry was never the same after those two!  We will explore the musical forms of Frost, the philosophical meditations of Stevens, the colloquial experiments of Williams, Eliot's influential critique of modern life and Hughes' jazz rhythms.  Our work will include at least one research paper and one in-class essay, as well as smaller writing assignments.

 

ENGL 336  AMERICAN LITERARY REALISM

Bronson   Sec. 01 MW 10:00 am
Satisfies: 1b, TE 1c, 3 (Fiction), 4d Gen, 4e Class

See catalog.

ENGL 336  AMERICAN LITERARY REALISM

Staff Sec 02 M 5:30 pm
Satisfies:  1b, TE 1c, 3 (Fiction), 4e

ENGL 337 MODERN AMERICAN FICTION

Schwartz  Sec 01 MR 10 am
Satisfies: 1c, TE 1d, 3 Fiction,  4e Class

This course focuses on American novels published between World War I and II that have come to represent the American contribution to the "modernist" literary revolution in the first part of the 20th century. These novels will be considered in the context of the massive social, political, cultural, and aesthetic upheavals associated with this era --the historical roots of such important issues as racism, women’s rights, urbanization, Marxism, and the expansion of industrial capitalism will be discussed to help clarify the imprint of the past on this literature. Also, there will be analysis of how the modernist impulse was interpreted by writers now defined as canonical. The course includes works by such representative authors as Hemingway, Faulkner, Wharton, Fitzgerald, Cather, Wright, Steinbeck, and perhaps others.

ENGL338 CONTEMPORARY AMERICAN FICTION

Benediktsson Sec 01  TR 8:30 am
Satisfies: 1c, TE 1d, 3(fiction)

This is a course in the contemporary American novel.  we will read novels from two decades-- the 1980's, in which we will study works by Paul Auster, Marilynne Robinson and Charles Johnson ; and the 2000's, in which we will read works by Jonathan Foer, Don DeLillo and  Joseph O'Neill. Topics of discussion will include postmodernism in the novel, the immigrant experience, the post 9/11 novel, fictional constructions and revisions of American history, and others.  In addition to the six writers mentioned above, we will read a seventh novel to be selected by the class.

ENGL 345  MIDDLE ENGLISH LITERATURE

Furr    Sec 01  MR  10:00  am
Satisfies:  1a, TE 1b, 4e Class

 

We'll read some of the great literature of Medieval England in the 14th century that focuses on the themes of Love and Chivalry, and some of the French romance literature that inspired it. For historical and social context we'll also read Umberto Eco's great novel /The Name of the Rose/.

 

ENGL 346 19TH C ENGLISH ROMANTIC LIT

Matthew Sec 01 MW 1 pm
Satisfies 1b, TE 1b,  3 and TE 3b (Poetry), 4d Gender


This course will introduce you to the major components of the “Romantic” period: the canonical poets, cultural writings, novels, and minor poets. The texts we will study were produced between 1790 and 1830, an era historian Eric Hobswam refers to as “The Age of Revolution.” The literature of this Age was influenced by a period of unprecedented change: amidst political revolution and decades of counterrevolutionary wars; vast economic expansion and imperialism; social turmoil, including movements against the slave trade, the secondary status of women, and the abuse of the working classes; and, lastly, amidst the questioning of cultural tradition and the cultural marketplace itself. We will consider these texts within this context, but we will also pay attention to their structure—not just what these text relay to readers but how they do it.

 

 

ENGL347 VICTORIAN POETRY AND PROSE

Behlman Sec 01 TR 8:30AM and Sec 02 TR 1:00PM
Satisfies: 1b, TE 1b, 3 and TE 3b (Poetry), 4d Gender, 4e Class

 

This course addresses British poetry and prose during a period – 1837 to 1901 – of remarkable cultural and literary change. We’ll focus our attention on a set of major developments in literary form and cultural attitudes. We’ll witness innovations in poetry such as the dramatic monologue and nonsense poetry, and innovations in prose such as the “triple-decker” Victorian social novel. Through our examination of poetry, non-fiction, and two novels, we’ll also examine what Mary Poovey has called the “uneven developments” of the Victorian period, including the growth of the factory system, Darwinism, feminism, colonialism, and the rise of both the radical left and modern reactionary conservatism. Major authors will include Alfred Tennyson, Robert Browning, Christina Rossetti, A. C. Swinburne, Rudyard Kipling, Charles Dickens, Charles Darwin, and Elizabeth Gaskell. Assignments will include one short paper, two mid-length papers, journals, and a final exam.

 

 

ENGL 353 SHAKESPEARE: COMEDIES AND HISTORIES

Slocum Sec 1 W 530 - 800 pm
Satisfies: 1a, TE 1a, 3(Drama), 4d Gender

A survey of representative comedies and histories, such as THE TAMING OF THE SHREW, A MIDSUMMER NIGHT'S DREAM, THE MERCHANT OF VENICE, AS YOU LIKE IT, RICHARD THE THIRD, RICHARD THE SECOND, HENRY THE FOURTH, Part One, and HENRY THE FIFTH.

COURSE REQUIREMENTS: two short (5 page) papers, a midterm exam and a final exam.

 

ENGL 354 SHAKESPEARE: TRAGEDIES AND ROMANCES

 

Liebler Sec 01 M-W 10-11:15 AM
Satisfies: 1a, TE 1a, 3(Drama), 4d, 4e

This course examines several of Shakespeare’s major tragedies and romances as reflections of the concerns, anxieties, values, and ideologies of Shakespeare's England. While we attend to the development of tragedy and romance as genres, we give careful consideration to social issues such as gender and class, the role of the hero and of the scapegoat, and contests for political power. Requirements: 2 papers (5 and 10 pages, respectively, the latter involving research), a midterm and a final exam. Class discussion is encouraged.

 

ENGL 364 CONTEMPORARY POETRY

Benediktsson Sec 01 TR 1:00 pm
Satisfies: 1c, 3 and TE 3b (Poetry), 4a

 

This is a course in contemporary world poetry in English-- poems written in English outside the United States and Great Britain.  We will study three Irish poets-- Seamus Heaney, Eavan Boland, and Paul Muldoon; three Caribbean poets-- Derek Walcott, Kamau Braithwaite, and Lorna Goodison; and three South Asian Poets--Agha Shahid Ali and two others to be announced. Themes of the course will move beyond purely esthetic concerns into questions of culture and politics.  We will explore the contested relationship between individual poets from formerly colonial societies and the dominant traditions of the British poetic canon. We will consider the ways in which poetry inscribes the political in the personal, through confession, witness or resistance.  We will invesitigate questions of cultural hybridity or multicultural identity, including the linguistic and esthectic effect of using Creole, patois, dialect or  bilingualism in poetry. 
 

 

ENGL 471 01 TEACHING ENGLISH (SECONDARY)

Klein Sec 01 M 5:30-6:45 pm W 5:30- 7:35 pm

Req: Teacher Education.

 

See Catalog.

 

ENGL 471 01 TEACHING ENGLISH (SECONDARY)

Staff Sec 02 M 5:30-6:45 pm W 5:30- 7:35 pm

Req: Teacher Education.

 

See Catalog.

 

 

ENGM 384 GRAMMARS OF ENGLISH

 

Williams Sec 01 TR 2:30 pm

Satisfies: TE 5

 

See Catalog.

 

ENLT206  WORLD LITERATURE: COMING OF AGE

Bolletino   Sec 01 MW 1pm

Satisfies: 1c, 4a

The course deals with literary texts from Africa, Asia, Latin America and Eastern Europe. The works are thoroughly studied and carefully analyzed so as to reaveal the particular ideological and philosophical constructs by which these various groups of people struggle to come of age and to take their place among the dominant cultural forces, while asserting their own unique identity.   The course has three main objectives: one is to bring out a deeper understanding of the national literature that each text represents; the second is to place each book read vis-a-vis Western literary and philosophical traditions; the last is to select that literary theory which best elucidates the essence or the very nature of the text. Clearly, critical thinking and a scholarly approach to the analysis of the selected works are highly encouraged.
 

 

ENLT 206 WORLD LITERATURE: COMING OF AGE THEME

Nielsen Sec 02 W 5:30-8
Satisfies: 1c, 3 genre (fiction) 4a (multinational) 4c (women writers).

Coming-of-age stories mark a loss of innocence, and they punctuate the shift from childhood to adulthood. In this course, we will examine why writers use this universal motif to describe their experiences after 1945, a period marked by the end of several global atrocities (the Holocaust, the Atom Bomb, colonialism) and the beginning of new revolutions for individuals, communities, and nations. In the first half of the course, we will explore literature related to the Holocaust (Maus by Art Spiegelman) and the Atom Bomb (short stories collected by Nobel Prize winner Kenzaburo Oe, and Hiroshima mon amour, a screenplay by Marguerite Duras). Then we will explore coming-of-age as political allegory in Salman Rushdie’s novel, Haroun and the Sea of Stories. In the final portion of the semester, students form book clubs, and they are invited to choose a selected work of world literature to research and review by one of three different women writers. Exposure to literature from Africa, Europe, East Asia, and the Americas will help students appreciate the way literature reflects and shapes global issues. Satisfies GER 1983/2002: F1 (World Literature).

ENLT 207 WORLD LIT: TRADITION AND CHALLENGE

Afzal-Khan Sec 01 TR 1pm
Satisfies: 1c, 4a Multinational, 4d Gender

See Catalog.

ENLT 250    SPECIAL TOPIC: AFRICAN AMERICAN WOMEN WRITERS

Lewis   Sec 01 T 5:30 pm and Sec 02 R 5:30 pm
Satisfies:  1c, TE 1c, 4b Minority, 4c Women

This course explores the creative and critical expressions written by and about African
American women from the 18th Century to the present.  We will read across genre
(slave narratives, poetry, memoir, drama, novels, short fiction) and from a socio-
historical and womanist perspective.  Significant attention will be given to the unique
strategies and structures distinguishing an African American female aesthetic and
critical tradition.  Some of the novelists on board for consideration are Jamaica
Kincaid, Toni Morrison, Michelle Cliff, Gayl Jones and Edwidge Danticat.

 

 

ENLT 260: Mythology and Literature

Kitchen Sec 01 MR 11:30 am
Satisfies: 1a, 4a

 

See Catalog.

 

ENLT 274  TWENTIETH CENTURY LITERATURE OF IMMIGRATION

Furr  Sec 01    MR 1:00 p.m.
Satisfies:  1c, TE 1d 4b, 4e and GER Multicultural Awareness Requirement

We'll read works that reflect the experience of immigrants to the United States of writers of varying cultural backgrounds to learn about the challenges and struggles, cultural and political, of old and new immigrant groups. We'll also consider literary strategies used by the writers; consider similarities and differences among immigrants of earlier and later periods of history, and from different countries and backgrounds.

ENLT 348 IRISH REVIVAL

McDiarmid  Sec 01 TR 11:30 AM
Satisfies: 4a, 4d

Taking as its narrative framework Yeats's literary career from 1889 to 1939, this course will mix close readings of Yeats's poems with study of the folklore, history, and cultures of the Irish Revival. Students will read Synge's Aran Islands (the travel writing of an educated, Europeanized Dublin Protestant visiting a rural, Catholic, "primitive" island), and Lady Gregory’s Visions and Beliefs in the West of Ireland (country people’s stories about childbirth, female healers, and fairy abductions of women and children). We will also study Gregory and Yeats’s co-authored patriotic play Kathleen ni Houlihan, and Joyce’s Dubliners and Portrait of the Artist as a Young Man. Later in the semester, the class will focus on the Easter Rising of 1916, reading an eye-witness account of Dublin during the Rising, Yeats's poems on the Rising's leaders, and the poems of those leaders themselves, anticipating their martyrdom. Having studied peasants and rebels, we will not neglect the rich and powerful: students will also become familiar with the domestic culture of the "Big House" and Yeats's interest in it as a symbol of a moribund class and as an architectural measure of masculinity. Evaluations will be based on participation, several one-page papers, a mid-term, a final, and a long paper due at the end of the semester.

 

 

 

ENLT 372 WOMEN PROSE WRITERS

Keohane Sec 01
Satisfies:  1c, 3 (fiction), 4a Multinational, 4d Gender

 

See Catalog.

 

ENLT 376: MODERN EUROPEAN NOVEL

Nielsen Sec 01 MW 1-2:15
Satisfies: 1c , 3 genre (fiction), 4a (multinational), 4d (gender)

Course description: The title of this course is “The Modern European Novel: Authoring the Experimental Self.” Before it was known as World War I, the so-called Great War left writers, thinkers, and individuals reeling from uncertainty, doubt, and fear. The great Modernist novels written between 1910 and 1930 thus depict a common struggle across Europe: to self-author an “experimental self” free from traditional trappings. We will read and discuss characters who find themselves caught between things—between two world wars, between individualism and society, between male and female identity, between national borders, and between desire and reason. Students will leave this course with a profound appreciation for the ways in which the novel has evolved from 1866 to 1984. In order to understand the past and future of Modernist novels (Hesse’s Steppenwolf, Breton’s Nadja, and Kafka’s The Trial), we will read a precursor (Dostoevsky’s Crime and Punishment) and a successor (Kundera’s Unbearable Lightness of Being).

 

ENWR200 CREATIVE WRITING: FICTION, POETRY, DRAMA

Reid Sec 01 MR 8:30 am
Satisfies: 2 (Writing)

See Catalog

 

ENWR200 CREATIVE WRITING: FICTION, POETRY, DRAMA

Somers-Willett Sec 02 TR 1 pm
Satisfies: 2 (Writing)

This course is designed to teach students the basic tools for writing creatively in several genres.  Through reading and practice, we’ll begin with exercises exploring basic parts of the short story and the poem that are genre-specific (action, dialogue, and scene for fiction; image, line, and sound for poetry).  We’ll then explore writing poetry and fiction through aspects of craft that the genres share­attention to language, character, point-of-view, and narrative­moving fluidly between genres.  Finally, we will discuss the challenges of creative non-fiction and drama through an exercise on self-portraiture.  As we progress, we’ll discuss approaches to revision, and you will complete a final portfolio and an artist’s statement reflecting on your process as a writer. In addition to completing a number of formal exercises, you will produce and revise a portfolio of poems; a scene; a short story; and a prose, verse, or dramatic self-portrait. Your attendance and participation arecritical to your success in this class.  Prerequisites: ENWR 106 or HONP 101.

ENWR200 CREATIVE WRITING: FICTION, POETRY, DRAMA

Enzell Sec 03 R 5:30 pm
Satsifies: 2 (Writing)

See Catalog.

 

ENWR204 ADVANCED EXPOSITORY WRITING

Whitney    Sec 01  R 5:30 pm
Satisfies:  2 (Writing)

Advanced Expository Writing. Prerequisites: ENWR 106 or HONP 101. A course designed to help general students improve their expository writing beyond the level of skill developed in the freshman composition course. Particular emphasis will be placed on argument and persuasion. 3 hours lecture.

 

ENWR205 CREATIVE NONFICTION

Hollander    Sec 03  TR 11:30-12:45
Satisfies: 2 (Writing)

A writing-intensive course that will explore the various forms of nonfiction, with emphasis on "creative".  Personal memoirs, travel writing, profiles, first-person opinion pieces, personal essays, arts reviews, political persuasive pieces, humor, nature writing, reportage of neighborhoods, writing about religion and science are among the forms that may be explored.  (One thing we will not do is the "term paper" or "report" straight research paper.)  Students will be encouraged to write with a personal, distinctive "voice".  We don't want to produce bland, purely objective reports, colorless how-to pieces, guides, nor instructions.  Techniques include colorful descriptions, sensory details, characterizations (fact-based and real), dialogue between real people, tension and even plot, pace and flow, flashbacks and other methods.  We will read examples of some of these genres.  All work will be shared and will be constructively peer-reviewed.

ENWR 205 CREATIVE NONFICTION

Troyan Sec 02 MR 4pm
Satisfies:  2 (Writing)

See Catalog.

 

ENWR 205 CREATIVE NONFICTION

Lapin, Sec 03  W 5:30 pm
Satisfies:  2 (Writing)

See Catalog.

ENWR210 NEWS REPORTING

Staff  Sec 01 T 5:30 pm to 8:00 pm and Sec 02 MW 11:30
Satisfies: 2 (Writing)

See Catalog.

ENWR 214 FEATURE WRITING

 Hollander Sec 01 TR 1 pm

Satisfies 2 (Writing)

Prerequisite ENWR210

Journalism Elective, but open to all (with prerequisite of News Reporting, or instructor's permission if not).

 

Prerequisite: News Reporting MUST have been taken PRIOR to this course, not at the same time. Contact professor in advance of registering if you don't have this, and occasionally it can be waived if student has appropriate other experience. This writing-intensive course will introduce journalism students to the art of short feature writing, those stories that enliven newspapers by presenting the "human interest" side of the news. Various types of feature stories will be written including the profile, "evergreen", travel, neighborhood and the challenging and critical news-feature. We also will do an investigative piece ("take-out") on a campus social issue.  Students will further develop interviewing, fact-gathering and organizational skills learned in News Reporting. All stories will require actual, in-person reporting at off-campus locations selected by students. Such creative writing techniques as spare description, dialogue, portraying of character, pacing and climax will be taught, although all will be based on real facts and situations. Students will be encouraged to develop their own styles and approaches, though within the constraints of daily reporting deadline pressures, limited length, and with meticulous regard for factual accuracy. Writing will be shared with the class.

 

ENWR 250: SPECIAL TOPIC: THEORY AND PRACTICE OF TUTUORING WRITING

 

Knight Sec 01 TR 10 am

Satisfies: 2 (writing)

 

 

ENWR 301 COOP EDUCATION

Jacobs Sec 80 TBA

 

See Catalog Description.

 

 

ENWR 311: Writing: Fiction

Galef   Sec 01 W 10 am – 12:30 pm
Satisfies 2 (Writing), 3 (fiction)

This course is a basic, hands-on workshop, devoted mainly to writing short stories. It provides a grounding in the elements of plot, character, dialogue, tone, setting, theme, and so on. Students are expected to write at least three short pieces and two stories during the semester. In addition, a final exam will ask the students for written criticism of each other's material. The readings will be mainly student work along with stories from an anthology.

ENWR 312 WRITING POETRY

 

Somers-Willett Sec 02  T 5:30 pm

Satisfies: 2 (Writing), 3 (poetry)

 

 

This course is designed to introduce students to craft of writing poetry in a workshop environment.  With the understanding that poetic form is different from formalist verse, we will explore writing poetry through a variety of traditions­old and new, Western and non-Western­as well as learn some basics of prosody.  Forms and themes we will practice include the ghazal, the litany, ekphrastic poetry, the blues lyric, the sonnet, the pantoum, free verse and organic form, the lyric, the ars poetica, performance poetry, and hip-hop.  In our workshops, we’ll also discuss specific aspects of poetic craft such as concrete diction, imagery, narrative, and the line. After revising your writing, you will create a final portfolio with an artist’s statement reflecting on your process as a writer and the strengths and weaknesses of your writing.  Your attendance and participation are critical to your success in this class. Prerequisites: ENWR 200 and departmental approval.

ENWR 312 WRITING POETRY

Lorenz Sec 03 MW 11:30am
Satisfies: 2, 3 (Poetry)

We will dedicate ourselves to writing poems, but not merely to express ourselves. We have an opportunity in this class to do something new with our language, to play with the figurative and sonorous possibilities of words - this is "serious play." I will encourage you to write not by looking inside of yourself but by looking outside of yourself. For this reason, we will read other poets and respond to their work. We will take up poetic exercises (thematic challenges, poetic forms and devices) that encourage us to change the way we write, to re-invent our vocabularies and our style. We will do in-class exercises and work together on revisions, and we will write a new poem (for evaluation) about every 2 weeks. Class participation is vital for this course. Students must have taken ENWR 200.

 

ENWR 313 EDITING

Burg Sec 01 MW 1 pm
Satisfies: 2 (writing)

See Catalog

 

ENWR 315 MAGAZINE JOURNALISM

Herbst Sec 01 W 5:30 pm
Satisfies: 2 (writing)

See Catalog

ENWR 315 MAGAZINE JOURNALISM

Herbst Sec 02 TR 2:30 pm
Satsifies: 2 (Writing)

 

See Catalog.

 

ENWR 411: ADVANCED WRITING: FICTION

Galef sec 01  T 10 am to 12:30 pm
Satisfies 2 (Writing), 3 (fiction)

This course is an advanced workshop for those who have already had experience writing fiction. Admission is by submission of a five-page sample of fiction, along with the prerequisites ENWR 200 and ENWR 311. Students are expected to produce at least 30 pages of work during the semester, as well as preparing an in-class presentation on a particular author from the anthology assigned for class. In addition, a final exam will ask the students for written criticism of each other’s material.

 

ENWR 412 ADVANCED POETRY

Somers-Willett sec 01 R 10:00 am-12:30 pm
Satisfies: 2 (Writing), 3(Poetry)
 
This course offers further experience in reading, writing, and revising poetry through a workshop format. Our primary focus will be on your own literary production­writing and critiquing individual poems, with occasional writing exercises as the class elects. We will also read and discuss books by contemporary poets from a writer’s point of view, using our discussions to think beyond the single poem and envision how poems work together in collections. In this way, the workshop is ideal for advanced writers who are considering pursuing collections or exploring issues in contemporary poetry. Students will be expected to revise eight to ten poems to be included in a portfolio at the semester’s end. Your writing throughout the semester, including all drafts, should be included in this final project. In addition, you will be responsible for developing brief responses of either a critical or creative nature to our assigned readings. Due to the timely nature of our class discussions, regular attendance and participation is mandatory.  Prerequisites: Departmental approval required.

 

 

 

 

ENWR491  SEM: THE HOLOCAUST AND THE PRESS:  BEFORE, DURING AND AFTER

Hollander     Sec 01  TR 10-11:15
Satisfies:  4a Multinational, 4b Minority

T.E. 4a (Multinational), 4b (Minority)

Journalism Elective; Jewish-American Studies Elective, but open to all with no prerequisite.

This troubling and challenging upper-level seminar will examine in searing detail how the American (and some foreign) press reported on the Holocaust from 1933 to 1945 while it was happening.  The central questions are:  What did the American public know?  When did they know it?  And if they knew it, then why was nothing done?  In other words, what would your grandparents have read over their morning orange juice about the factory, assembly-line murder of 6 million Jews, and Sinti/Roma people, homosexuals, Communists, labor organizers and others?  The course will combine the disciplines of journalism, history, anthropology, sociology, ethics and religion.  There will be intensive reading of the history of the Holocaust and of World War II; awful documentary and propaganda films of the death camps; visits to the class by Holocaust survivors; possible trips to Holocaust museums in New York and Washington; and most of all, examination of newspapers and magazines of the period, studying how the articles were written, how accurate they were, and how prominently (or not) they were "played" in the publications.  The Holocaust and the free world's burden to "do something" also will be related to other genocides including in Armenia, Cambodia, Bosnia and Rwanda.  There will be short essays, a mid-term, history quizzes, and most of all, an original research paper using primary sources (period newspapers) that actually will make a genuine contribution to the scholarship of the Holocaust.