Engl, Film, and Writ Offerings

SPRING 2015 ENGL, FILM, AND WRIT OFFERINGS (the prerequisite for all of these courses is Engl 2110 unless otherwise noted)

Engl 2145/01 MW 9:30am-10:45am EB231 Watson Engl 2145/02 MW 11:00am-12:15am EB235 King Engl 2145/03 MW 5:00pm-6:15pm EB253 Palmer Engl 2145/04 TR 11:00am-12:15am EB235 Shelden

INTRODUCTION TO ENGLISH STUDIES. This course introduces students to the reading, writing, research, and critical strategies essential to the KSU English and English Education majors. The course draws connections among the four content areas in the English Department (Literature, Language, Writing, and Theory) and focuses on their relationship to broader social and personal contexts, enabling students to make informed choices about their program of study and their careers.

Engl 2160/01 MW 11:00am-12:15am EB168 Severson Engl 2160/02 TR 3:30pm-4:45pm EB166 Keith

AMERICAN LITERATURE SURVEY FROM ITS BEGINNINGS TO THE PRESENT.

Engl 2172/01 T 2:00pm-4:45pm EB168 Bowers Engl 2172/W02 Online Online White [THIS IS AN ONLINE SECTION]

BRITISH LITERATURE SURVEY TO 1660.

Engl 2174/01 TR 9:30am-10:45am EB166 A.Davis Engl 2174/W02 Online Online Gephardt [THIS IS AN ONLINE SECTION]

BRITISH LITERATURE SURVEY FROM 1660 TO THE PRESENT.

Engl 2271/01 MW 11:00am-12:15am EB266 Goodsite Engl 2271/02 TR 9:30am-10:45am EB70 Cebulski

PRESENTATION IN THE ENGLISH/LIBERAL ARTS CLASSROOM. Professional and community standards demand that English teachers model effective language arts skills and application. In this course, students will prepare for that role. They will study, practice, and apply the effective language strategies and skills needed to guide today’s English/Language Arts classrooms.

Engl 3030/01 TR 11:00am-12:15am EB168 D.Johnson

STUDIES IN GRAMMAR AND LINGUISTICS. This course has two main goals. The first is to survey traditional grammar terms and concepts. The second is to critically examine the notion of “correct” grammar by discussing how standards of grammar correctness are developed and maintained. This course will be particularly useful for students considering careers in education, editing, or professional writing. Engl 3035/01 MW 3:30pm-4:45pm EB72 Palmer Engl 3035/W02 Online Online D.Johnson [THIS IS AN ONLINE SECTION]

INTRODUCTION TO LANGUAGE AND LINGUISTICS. INTRODUCTION TO LANGUAGE AND LINGUISTICS. This course analyzes the nature of human language. It includes an introduction to speech sounds, morphology, and syntax. A heavy emphasis is placed on the social and pedagogical implications of modern linguistic theory, which includes an examination of issues such as Standard English, dialect variation, language acquisition, or English as a Second Language.

Engl 3040/01 MW 12:30pm-1:45pm EB72 Palmer

HISTORY OF THE ENGLISH LANGUAGE. This course reviews the development of English, with attention to influential historical events and to the evolving structure of the language. Changes in the language are studied in conjunction with changes in English literature and literacy. The course begins with a study of the language’s Indo-European roots and its establishment in England. The course examines the three periods of English: Old English (the era of Beowulf, the first epic poem in English), Middle English (the time of Geoffrey Chaucer, “the father of English poetry”), and Modern English (which starts during the Renaissance, the time of William Shakespeare). The course concludes with the rise of World English--that is, the varieties of English spoken in America and across the globe.

Engl 3230/01 M 2:00pm-3:15pm SS2023 Richards [THIS IS A HYBRID SECTION]

SPIRITUAL MEMOIR. Students both study the genre of spiritual memoir and create their own memoirs exploring the presence or absence of spirituality in their lives. Readings will include passages from The Consolation of Philosophy (Boethius), The Confessions (Augustine), the letters of Catherine Benincasa (or Catherine of Sienna), Woman in the Nineteenth Century (Margaret Fuller), The Education of Henry Adams, Twenty Years at Hull House (Jane Addams), Holding the Lotus to the Rock (Shigetsu Sasaki), The Periodic Table (Primo Levi), Return to the Self (Ali Shariati), Dialogues with Silence (Thomas Merton), Black, White, and Jewish (Rebecca Walker), and Godless: How an Evangelical Preacher Became One of America's Leading Atheists (Dan Barker). We will also read passages by Swami Vivekananda, Alexander Russell Webb, and Kamaladevi Chattopadhyaya. Students need not consider themselves spiritual to successfully engage with and complete this course. This course is cross listed with PAX 3780/03.

Engl 3232/01 M 2:00pm-4:45pm SS1019 Botelho

SHAKESPEARE ON FILM. What are the implications of moving Shakespeare from stage to screen? This course will examine current critical debates about Shakespeare on film and provide an introduction to the history and significance of Shakespeare’s presence in Hollywood. We will consider various offshoots, adaptations (both faithful and unfaithful), and spin-offs of the Bard’s plays during the course of the semester, including George Cukor's A Double Life (1947), Orson Welles’ Othello (1952), George Sidney’s Kiss Me Kate (1953), Andrew McLaglen’s McLintock! (1963), William Reilly's Men of Respect (1990), Penny Marshall's Renaissance Man (1994), Baz Luhrmann’s Romeo + Juliet (1996), Kenneth Branagh's Hamlet (1996), Gil Junger's 10 Things I Hate About You (1998), and Billy Morrissette's Scotland, PA (2001). Requirements include interpretative film responses, a review essay, a group presentation, and a final essay exam. This course is cross listed with FILM 3220/01.

Engl 3241/01 TR 3:30pm-4:45pm EB231 Rish

TECHNOLOGY AND DIGITAL MEDIA IN THE ENGLISH/LIBERAL ARTS CLASSROOM. The purpose of this course is for future English/Language Arts teachers to study and create a wide range of print and nonprint texts for multiple purposes. Students will learn how to use and integrate technologies into the twenty-first century English/Language Arts classroom. Engl 3310/01 TR 2:00pm-4:45pm EB266 Devereaux [THIS SECTION IS RESERVED FOR SECONDARY ENGLISH EDUATION AND MIDDLE GRADES EDUCATION MAJORS]

PRINCIPLES OF WRITING INSTRUCTION. An exploration of current theories of grammar instruction and theories of composition pedagogy and assessment, including a variety of strategies for teaching writing while dealing with institutional policies, such as standardized testing; and acquiring grammatical competence in oral and written communication, understanding what grammar errors reveal about writing, promoting syntactic complexity in writing, and studying grammatical structures that promote syntactic growth and diversity of style in writing. In a writing workshop environment, students will write for a variety of purposes and audiences. This section includes a 45-hour field experience in a middle school, including two hours per week as an AVID tutor and a three-week one-hour-per-day practicum. Please contact the instructor for details.

Engl 3310/02 TR 5:00pm-7:45pm EB140 Hamby

Engl 3324/01 MW 8:00am-9:15am EB168 Dabundo

SCRIPTURAL LITERATURE: THE NEW TESTAMENT OF THE BIBLE AS LITERATURE. This is not Sunday school! And it is not a course in Christianity or theology or religion or history or science. Rather, this is a study of the literature of the New Testament, the Christian Bible. This is an upper-level literature course, designed to study the aesthetic and cultural value of a work of literature, in this case, the collection of writings commonly known as the New Testament of the Bible, in the historical and cultural context of the time of its writers. We shall read, savor, appreciate, and seek to understand as literature the Gospels, the Acts of the Apostles, the Epistles, and the Book of Revelation in order to discover the philosophy and meaning, structure and design, and characters, plots, themes, and the rich, allusive language found in the Bible. A familiarity with Christianity is not expected, and since we shall be studying these works as literature, everyone must be willing to discuss Luke, Paul, John, and Jesus objectively, dispassionately, and rationally as characters in literature in the same way that you might examine Poseidon or Athena in The Odyssey or Ishtar or Enlil in Gilgamesh.

Engl 3340/01 MW 3:30pm-4:45pm EB166 Walkiewicz

ETHNIC LITERATURES. RACIAL GEOGRAPHIES AND LITERARY MAPS. This course traces constructions of race and place in American culture and literature. Reading a swath of late 20th and early 21st-century novels, short stories, and poetry, we will interrogate notions of identity, community, migration, and diaspora. In what ways are certain spaces racialized? How might the literary serve as a site of alternative (potentially emancipatory) mappings? In addition to exploring these questions, the course will examine the importance of belonging, home, loss, and placemaking.

Engl 3360/01 W 2:00pm-3:15pm EB72 Thomas [THIS IS A HYBRID SECTION] Engl 3360/02 TR 2:00pm-3:15pm EB66 Thompson

MAJOR AFRICAN AMERICAN WRITERS. This course examines the development of African American literature with emphasis on major African American writers defining trends, movements, genres, and themes. Students will analyze literature written from the 18th century to the present. Engl 3390/01 TR 2:00pm-3:15pm EB72 Montgomery

GREAT WORKS FOR MIDDLE GRADES TEACHERS. A survey of classic literature written by diverse authors. The texts studied are frequently found in middle grades classrooms. Focus will be on text analysis and writing about literature.

Engl 3391/01 MW 12:30pm-1:45pm EB166 Montgomery

TEACHING LITERATURE TO ADOLESCENTS. Using narrative as a central genre, this course introduces current English teaching philosophy and practice in teaching literature to adolescents. This course models current ways to integrate technology into the curriculum, identifies a variety of multicultural teaching texts, and extends the study of critical theory into the teaching of literature to adolescents.

Engl 4220/01 MW 12:30pm-1:45pm EB168 Morgan

CRITICAL THEORY. This is an advanced course in interpretive theoretical paradigms as applied to the study of literature and culture, focusing on critical models such as Marxism, Structuralism, Poststructuralism, Deconstruction, Psychoanalytic criticism, and Gender, Ethnic, and Cultural studies. The prerequisite for this course is Engl 2145.

Engl 4230/02 MW 11:00am-12:15pm EB231 Diop

THEORY-BASED STUDIES IN LITERATURE. This course will introduce you to a number of literary theories including Marxism, feminism, psychoanalysis, new criticism, and structuralism. We will then "test" these theories by applying them to works of fiction. The objectives of this course are to familiarize you with the key concepts developed by each theory and to develop your ability to apply theoretical concepts when analyzing and interpreting literary texts. This course requires an essay of substantial length as preparation for the essay required in the Senior Seminar (ENGL 4620). The prerequisite for this course is Engl 2145.

Engl 4340/01 MW 9:30am-10:45am EB166 Botelho

SHAKESPEARE. In this section, we will read eight plays that are representative of Shakespeare’s major genres—comedy, tragedy, history, and romance. We will examine Renaissance staging practices, audiences, and theatrical culture, reading Shakespeare’s plays within the framework of the social, cultural, political, and religious debates that surrounded these performances. We will also study Shakespeare’s “afterlives,” examining how and why Shakespeare and his plays are such an integral part of our own modern culture, surfacing in television, movies, comic books, and music. Requirements include three essays, weekly quizzes, a pop culture Shakespeare project, a performance review of a Shakespeare Tavern production, and consistent and informed discussion.

Engl 4340/02 T 5:00pm-7:45pm EB168 Bowers

SHAKESPEARE'S LIFE, WORKS, AND "BUSINESS." In his own day, Shakespeare was far more interested in filling theatre seats than in creating great "Art." This course will examine Shakespeare and his plays as works written for the stage and examine how those works have been preserved and venerated over the past 400 years. We will question Shakespeare's "special" place in the literary canon by setting his works beside his sources and within the context of English history, religion, politics, and economics.

Engl 4374/01 TR 9:30am-10:45am EB231 Bowden

WRITING AND PERFORMING THE RESTORATION. The focus of the course is the poetry, fiction, journalism, and drama of the period 1660-1730 in Britain. We will examine the critique contained in the satirical representations of society in these texts. Other topics will include criticism of the stage and the earliest forms of the novel. The main text will be an anthology specially prepared by Broadview Press for this class. Assignments include regular responses to reading and a documented research essay developed through a sequence of assignments. The essay developed in this course will be of substantial length, in preparation for the essay required in the Senior Seminar (ENGL 4620). The prerequisite for this course is Engl 2145.

Engl 4470/01 TR 11:00am-12:15pm EB166 A.Davis

NINETEENTH CENTURY BRITISH LITERATURE. This course focuses on the tension between Realism and Fantasy that emerges after the Enlightenment and affects Nineteenth Century Literature. Using the modes as a point of departure, we will explore why and how authors wrote in these modes, as well as how Realism and Fantasy affected Nineteenth Century readers. Texts will range from poetry to novels to children’s literature and will address issues such as detection, sensation, psychological and social realism, the gothic, and theories of reading. The prerequisite for this course is Engl 2145.

Engl 4470/02 MW 9:30am-10:45am EB168 Dabundo

NINETEENTH CENTURY BRITISH LITERATURE. This is a course in the studies in British Romantic literature, which is conventionally located from the 1780s to the 1830s. Often this period is associated with its traditionally canonical male poets: William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, and John Keats, esteemed writers, all. In truth, though, the novel also flourished during this time, at the hands of magisterial woman writers, such as Jane Austen and Mary Shelley. We shall, in this course, examine canonical and non-canonical writers. For this is the magnificent literature of the imagination from the great age of revolutions, featuring transcendent poetic and fictional art. We shall sail with Coleridge’s Ancient Mariner, track through English landscape with Wordsworth’s pedlars and shepherds, burn in the forests of the night with Blake’s Tyger, lament with Keats’s song of the Nightingale, and emerge trailing clouds of glory! In Romanticism, we find, in brief, insights about life and loss and time and nature, the worlds about us and the worlds within us. Students will be expected to study and write and speak about the material on the syllabus. The prerequisite for this course is Engl 2145.

Engl 4560/01 MW 11:00am-12:15pm EB166 Grooms

TWENTIETH CENTURY AMERICAN LITERATURE. When does the 20th Century begin? With a calendar date? A major social upheaval like World War I? The advent of a new idea like Einstein’s Theory of Relativity? These and other questions will be explored as students examine representative texts of the 20th American literature century. Short novels by Faulkner, Vonnegut, Walker, O’Brien and others, as well as, texts from poetry and drama will be explored. Critical reading responses and a critical project will be expected.

Engl 4570/01 TR 5:00pm-6:15pm EB235 Shelden

TWENTIETH CENTURY BRITISH LITERATURE. MAKING LOVE MODERN. British writers of the twentieth century attempted to remake what we understand by the word “love.” Though almost all works of literature tell love stories, modern writers exposed the way in which the stories they tell are not all the same. Indeed, to make love modern means to grapple with the contradictory and complex nature of passionate attachment not least of all when it comes to the questions of sex and sexuality. This central conflict—where sexual desire and love cross paths—will guide our inquiries into twentieth century British literature. The texts we will study in this class ask us to explore and theorize the multiple meanings of modern love particularly in relation to literary style, desire, gender, and sexual identity. Required reading for this class may include works by D.H. Lawrence, Virginia Woolf, Ford Madox Ford, Jeanette Winterson, Alan Hollinghurst, and Hari Kunzru. This course requires an essay of substantial length as preparation for the essay required in the Senior Seminar (ENGL 4620). The prerequisite for this course is Engl 2145. Engl 4580/01 MW 5:00pm-6:15pm EB166 Wilson

TWENTIETH CENTURY SPANISH POETERY (in translation). This course will investigate the new aesthetic brought by Ruben Darío from Paris to Spain, termed modernismo, which had major impact on Spain’s Generation of 1898 (Unamuno, Machado, Jimenez), as well as the Generation of 1927 (Lorca, Alberti, Salinas, Guillen, et al). We will be reading poems by the major Spanish poets translated by Americans such as Bly, Merwin, Strand, Levine, Stafford, and Wright. We will also discuss ways in which these Spanish poets influenced the American poetry of the 1950’s through 1980’s. The prerequisite for this course is Engl 2145.

Engl 4580/02 TR 11:00am-12:15pm UC217 Santini

TWENTIETH CENTURY WORLD LITERATURE. In this course, students analyze the works of major modern and contemporary Italian writers, concentrating on the themes of self-identity, self-representation, and displacement as they are approached in a diverse range of literary works from the historic avant-garde to the present. The course uses a cross-cultural, comparative perspective and looks closely at the role of Italian literature within the European and global contexts. This course is cross listed with ITAL 3305/01.

Engl 4620/01 MW 2:00pm-3:15pm EB235 King

SENIOR SEMINAR. The American experience in Vietnam marks one of the great turning points in the modern history of the United States and remains a fascinating aspect of our collective memory and imagination. In this Senior Seminar—given during the 40th anniversary of the American departure from Vietnam—students will learn about the history, consequences, and implications of the Vietnam War. The course emphasizes the war’s representations in literature and film and considers as well how art influences, shapes, and often distorts our view of history. We will read and discuss fiction and nonfiction accounts of the war including Phillip Caputo’s A Rumor of War, Michael Herr’s Dispatches, Tim O’Brien’s The Things They Carried, and James Carroll’s An American Requiem; we will also watch and discuss some Vietnam films, including the landmark documentaries In the Year of the Pig and Hearts and Minds and the notable narrative films made by Michael Cimino, Francis Ford Coppola, Oliver Stone, and Stanley Kubrick. Finally, a number of veterans will share their own captivating stories and memories of their experiences in the war. The course will challenge you, inspire you, and move you as you deepen your knowledge not only of a tragic and pivotal conflict, but also of art’s ability to promote healing, insight, and understanding.

Engl 4620/02 MW 5:00pm-6:15pm EB235 Diop

SENIOR SEMINAR. THE REPRESENTATION OF VIOLENCE AND TRAUMA IN LITERATURE. This particular offering of the Senior Seminar applies the theories of violence and trauma to the representation of violence, destruction, and pain in literature, examining the topic through multiple subjects from war, genocide, racism, and sexual abuse to cultures of trauma. Students will develop a theoretical framework for analyzing the material through reading and discussing theoretical and critical works and contemporary novels.

Engl 4620/03 TR 11:00am-12:15pm EB266 Guglielmo

SENIOR SEMINAR. In this section of Senior Seminar, students will examine the rhetorical techniques of major U.S. social movements, with a focus on rhetorical theory as a foundation for this analysis. We will explore various documents connected to, among other topics, the abolitionist, suffrage, women's rights, and civil rights movements, analyzing the rhetorical practices of these movements and their ability to effect change. Engl 4620/04 F 11: 00am-1:45pm EB235 Gephardt

SENIOR SEMINAR. NEO-VICTORIAN FICTION. This senior seminar will explore contemporary novels that engage with the Victorian period, a sub-genre that is called neo-Victorian fiction. Neo- Victorian texts may present careful reconstructions of historical events or feature purely fictitious plots informed by research, often blurring the boundaries between fact and fiction. The genre also complicates the relationship between the past and the present by employing postmodern elements of self-reflexive narration, pastiche, and irony. Since our culture is indebted to the Victorians, the settings and characters of neo-Victorian fiction tend to highlight present social, political, economic, scientific, or ethical concerns. For example, the Victorian ideal of companionate marriage still shapes our perceptions of romantic relationships, and Victorian treatment of various “others” in the context of the British Empire anticipates conflicts associated with globalization in the twenty-first century. The characteristics of neo- Victorian fiction make it a particularly interesting and fruitful area for research in a senior seminar. The course will examine the evolving theories of neo-Victorian fiction in connection with four representative novels: Julian Barnes’s Arthur and George, Shari Holman’s The Dress Lodger, Graham Swift’s Waterland, and A. S. Byatt’s Angels and Insects. Students will then apply and test the collaboratively constructed theoretical framework in individual projects on neo-Victorian novels of their choice. The course will guide students through the research and writing process that will consist of an exploratory paper, a research proposal, a work-in-progress presentation, and peer review meetings, ultimately producing a 15-20-page senior seminar essay.

Film 3105/01 T 5:00pm-7:45pm SS1019 Stepakoff

FUNDAMENTALS OF WRITING FOR FILM AND TELEVISION. This is a professional seminar for anyone interested in learning about and/or breaking into the entertainment industry – specifically focusing on film and television. Hollywood blockbusters and great television shows are studied from a story structure perspective. Students learn how to develop, pitch, write, and sell commercial film and TV concepts/scripts; they examine film and TV production jobs, including how to get one in Georgia. This is essential training for screenwriters, novelists, directors, and executives.

Film 3200/01 R 2:00pm-4:45pm SS1019 Dudenhoeffer

FILM HISTORY AND THEORY I. A survey of the major developments, movements, and critical approaches in international cinema from 1895-1950, this course emphasizes an understanding of the historical, cultural, commercial, and aesthetic contexts that influence film, but also develops the student’s understanding of a film’s narrative and visual structure and its place within established theoretical traditions.

Film 3210/01 M 5:00pm-7:45pm SS1019 King

FILM HISTORY AND THEORY II. This course is a survey of the major developments, movements, and critical approaches in international cinema since 1950, including a consideration of American independent film and recent digital cinema. The course emphasizes an understanding of the historical, cultural, commercial, and aesthetic contexts that influence film, but also develops the student's understanding of a film's narrative and visual structure and its place within established theoretical traditions.

Film 3220/01 M 2:00pm-4:45pm SS1019 Botelho

STUDIES IN FILM. SHAKESPEARE ON FILM. What are the implications of moving Shakespeare from stage to screen? This course will examine current critical debates about Shakespeare on film and provide an introduction to the history and significance of Shakespeare’s presence in Hollywood. We will consider various offshoots, adaptations (both faithful and unfaithful), and spin-offs of the Bard’s plays during the course of the semester, including George Cukor's A Double Life (1947), Orson Welles’ Othello (1952), George Sidney’s Kiss Me Kate (1953), Andrew McLaglen’s McLintock! (1963), William Reilly's Men of Respect (1990), Penny Marshall's Renaissance Man (1994), Baz Luhrmann’s Romeo + Juliet (1996), Kenneth Branagh's Hamlet (1996), Gil Junger's 10 Things I Hate About You (1998), and Billy Morrissette's Scotland, PA (2001). Requirements include interpretative film responses, a review essay, a group presentation, and a final essay exam. This course is cross listed with FILM 3220/01.

Film 3220/02 W 2:00pm-4:45pm SS1019 Tierce

STUDIES IN FILM. FILMS OF 1967. In 1930 the Motion Picture Producers and Distributors of America (MPPDA) adopted a Production Code of industry standards governing the depiction of crime, sex, violence, and other controversial issues. From 1934 (the year it was first strictly enforced) until the new ratings system was introduced in 1968, the Production Code determined what was morally acceptable for American movie audiences to see. Though the Production Code was an extremely powerful force in American movie making for over thirty years, by the mid-1960s it was a moral dinosaur soon to be extinct. This course will focus on the following four American films released in 1967 that helped to bring the Production Code to an end: Mike Nichols’ The Graduate, Arthur Penn’s Bonnie and Clyde, Stuart Rosenberg’s Cool Hand Luke, and Norman Jewison’s In the Heat of the Night. Because international films did not have to have Production Code approval, they too greatly appealed to the new younger and more sophisticated audiences buying tickets at American cinemas. We will therefore conclude the class by focusing on two films from international directors produced by Hollywood (MGM) and released in the US in 1967: Michelangelo Antonioni’s Blow Up (his first film in English) and John Boorman's Point Blank (his first American film).

Film 4200/01 T 2:00pm-4:45pm SS1019 Shelden

ADVANCED STUDIES IN FILM. METACINEMA: FILMS ABOUT FILM. In this course, we will study cinematic artifacts that focus—at times, literally and at others, metaphorically—on the construction of cinema itself. These films will approach the idea of filmic construction from a number of different perspectives, ranging from the theoretical engagement with the status of film to the material—economic, commercial, and political—concerns of getting a film made in Hollywood. But all of the films we are studying fundamentally ask the question: what does it mean for a film to be a film? In order to explore how each of the films that we study will attempt to answer this question, we will consider cinematic theory and history in addition to the narrative and visual concerns of the films themselves, which may include Sunset Blvd. (1950), 8 ½ (1963), Barton Fink (1991), The Player (1992), and Fight Club (1999). The prerequisite for this course is Film 3200, Film 3210, or Film 3220.

Writ 3000/01 W 2:00pm-4:45pm EB231 Klym

INTRODUCTION TO CREATIVE WRITING GENRES. This course is a multi-genre creative writing survey incorporating the study of three genres from the following list: short fiction, poetry, creative nonfiction, playwriting, and screenplay writing. Pairing creativity with technique, this content-based course introduces students to concepts, approaches, and methods. As students develop a portfolio of work, they learn to contextualize their own writing with writings from celebrated authors by completing short critical commentaries. This course introduces students to the workshop format.

Writ 3100/02 W 2:00pm-4:45pm EB253 Sadre-Orafai

POETRY WRITING. A workshop approach to poetry writing that emphasizes original writing, analysis and response from classmates, and revision. Some attention to the work of established writers for models.

Writ 3109/01 MW 3:30pm-4:45pm EB266 Walters CAREERS IN WRITING. This course exposes students from a variety of backgrounds to various careers in writing. Students will analyze and create a wide variety of professional texts ranging from technical, business, and governmental documents to medical, community-based, and web- based documents. Students do not have to be English majors to take this course. Writ 3111/01 R 2:00pm-3:15pm EB68 Arnett [THIS IS A HYBRID SECTION]

PROFESSIONAL EDITING. Professional Editing is a course that prepares students to become professional editors and information designers. Students will learn proofreading and copy editing skills, as well as comprehensive editing procedures, including what is required in working with an author from a document’s inception to its completion. The process of editing will be studied from the perspective of the rhetorical context so that students learn how to edit and design a document to fulfill both the audience’s needs as well as the author’s purpose. The techniques of editing, including proofreading and copy editing for style, grammar, punctuation, and visual design, and the communication skills required of an editor will be learned through hands-on training and real-world assignments that give students ample practice in applying the principles of editing.

Writ 3120/W01 Online Online Sumner [THIS IS AN ONLINE SECTION]

FICTION WRITING. A workshop approach to fiction writing that emphasizes original writing, analysis and response from classmates, and revision. Some attention to the work of established writers for models.

Writ 3130/01 T 2:00pm-4:45pm EB253 Niemann LITERARY NONFICTION. The study and practice of selected genres of literary nonfiction, this course features extensive nonfiction writing and revision, workshop discussion, and readings in major authors of literary nonfiction. This course is cross listed with WRIT 4130/01.

Writ 3140/01 M 12:30pm-1:45pm EB266 Richards [THIS IS A HYBRID SECTION] Writ 3140/02 R 2:00pm-3:15pm EB126 Giddens [THIS IS A HYBRID SECTION] Writ 3140/03 R 3:30pm-4:45pm EB126 Giddens [THIS IS A HYBRID SECTION] Writ 3140/W04 Online Online McGrath [THIS IS AN ONLINE SECTION]

TECHNICAL WRITING. Analysis of and practice in the writing of business and technical documents from the perspective of technical personnel whose writing supplements but does not define their job description.

Writ 3150/01 MW 2:00pm-3:15pm EB126 Figueiredo

WRITING IN DIGITAL ENVIRONMENTS. SOCIAL MEDIA. This is a course in the study and practice of computer-mediated writing, examining theories of new media and multimodal literacy and engaging students planning, designing, and composing a variety of rhetorically effective digital texts. Students enrolled in this section will explore digital media in its most pervasive forms (text, image, video, hypertext), as well as engaging cultural research methods specific to networked digital environments.

Writ 3150/W02 Online Online McGrath [THIS IS AN ONLINE SECTION]

WRITING IN DIGITAL ENVIRONMENTS. This is a course in the study and practice of computer- mediated writing. This course examines theories of new media and multimodal literacy as it engages students in mastering the conventions of writing for the Web and planning, designing, and composing a variety of rhetorically effective digital texts.

Writ 3170/01 TR 5:00pm-6:15pm EB266 Giddens

ENVIRONMENTAL WRITING AND LITERATURE. A course in writing and reading about the environment, intended for students interested in major works of environmental literature and for those who wish to think and write about the interconnections between humans and the nonhuman world. The course focuses on nature writing, science writing, environmental journalism, activist writing, and travel writing. It provides instruction in the writing of environmental nonfiction prose for aesthetic, expressive, intellectual, and instrumental purposes. In this course we will read works by Henry David Thoreau, Mary Austin, John Muir, Aldo Leopold, Loren Eiseley, Rachel Carson, Edward Abbey, Gary Snyder, John McPhee, Annie Dillard, Terry Tempest Williams, Rick Bass, Janisse Ray, and Michael Pollan. Writing assignments will include an expressive essay, an ecocritical essay, and an independent writing project based on library and field research about a local topic.

Writ 4100/01 W 6:30pm-9:15pm EB268 Wilson

ADVANCED POETRY WRITING. Building on the skills learned in WRIT 3100, this course offers advanced workshop experiences for practiced writers of poetry and includes lecture and discussion of contemporary approaches to poetics and the work of contemporary poets. This workshop approach stresses development and integration of all technical and artistic elements of poetry writing. The prerequisite for this course is WRIT 3100.

Writ 4110/01 R 2:00pm-4:45pm EB253 Levy

ADVANCED PLAYWRITING WRITING. This advanced workshop stresses development and integration of all technical and artistic elements of playwriting. Some readings from the work of established writers are included. The prerequisite for this course is WRIT 3110

Writ 4120/01 R 6:30pm-9:15pm EB231 Rice

ADVANCED FICTION WRITING. Building on the skills learned in WRIT 3120, this course offers advanced workshop experiences for practiced writers of fiction and includes lecture and discussion of contemporary approaches to fiction writing and the work of contemporary fiction writers. This workshop approach stresses development and integration of all technical and artistic elements of fiction writing. The prerequisite for this course is WRIT 3120.

Writ 4125/01 M 2:00pm-4:45pm EB231 Grooms

ADVANCED TECHNIQUES IN FICTION WRITING. Composing fiction requires the integration of many elements, each influencing how the others are presented. Among the elements, arguably, characterization and point-of-view are paramount. How do these two elements inter-relate in the construction of stories? How does the assertion of a particular point-of-view limit or expand the representation of character? This seminar and workshop will explore these and other questions through readings, exercises and student generated texts that practice the techniques and model after established, often canonical writers. Literary models may include Chekov, Hemingway, Chopin, Petesch, Reed, O’Brien, Barth, Walker, and Carver. Critical readings may come from Booth, Jauss and others. Narration projects and critical essays are expected. The prerequisite for this course is WRIT 4120 or permission of the instructor.

Writ 4130/01 T 2:00pm-4:45pm EB253 Niemann ADVANCED CREATIVE NONFICTION WRITING. This course offers advanced workshop experiences for practiced writers of creative nonfiction and includes lecture and discussion of contemporary approaches to writing creative nonfiction and the work of contemporary creative nonfiction writers. This workshop approach stresses development and integration of all technical and artistic elements of writing creative nonfiction. The prerequisite for this course is WRIT 3130.