Department Of English
Summer Session I (May 18 – June 12) Summer Session II (June 15 – August 6)
SUMMER SESSION I
English 200 X—INTRO TO THE STUDY OF LIT, Loughran. MTuWTh 12-2:50
What do people trained in English departments do? In this course, we will both practice and discuss a variety of critical methods typically used in college-level lit classrooms (for example: close reading, historicism, and high “theory”) while reading/watching/using a range of literary genres, with special emphasis on expanding our notion of what constitutes “literature.” For the summer session, this will likely mean working with poetry, print and graphic novels, one or two films, and even a few videogames.
English 455 1U/1G—MAJOR AUTHORS, Hansen. MTuWTh 9-11:50
major requirements (old) – Group IV
major requirements (new) – n/a
By focusing on the films that Alfred Hitchcock directed between 1935 and 1960, this course will explore the psychoanalytic and ideological fears that animate some of the most talked about texts in cinema history. Framed by the historical horrors of World War II and the subsequent expansion of American economic and military power, the films of Hitchcock’s most fertile period helped to develop—and simultaneously to conceal—psychological concerns about modern masculinity, sadism, masochism, and consumer culture. By interrogating films ranging from The Lady Vanishes and Rebecca to Psycho, we will attempt to engage not only with the manifest messages of Hitchcock’s cinema, but also with the latent and troubling fears about our society and ourselves that his cinema seems to embody.
Course requirements include two 8 page research papers, 1 in-class presentation, a daily reading journal, and two exams.
CW 202 PG—TOPICS IN CREATIVE WRITING, Graham. MTuWTh 9-11:50
TOPIC: The Art of Revision
“Why aren’t the thinks I’m thinking getting thunk on the page any faster?!?”
This course will emphasize the absolute importance of revision in bringing promising work to final polish. Students working in fiction, nonfiction and poetry are welcome in the class. There will be a course pack of essays by established authors addressing how they revise their own work, and we will also examine issues of Draft: A Journal of Process, which feature the first and then the last published draft of various contemporary stories and poems.
“The writer must have a good imagination to begin with, but the imagination has to be muscular, which means it must be exercised in a disciplined way, day in and day out, by writing, failing, succeeding and revising.”
Students can come to class with completed early drafts of stories, poems or essays that are in need of several drafts of further revision. There will also be several free-writing sessions in the beginning to the class, in order to generate new work that can then be nurtured through the revision process.
“I have rewritten--often several times--every word I have ever published. My pencils outlast their erasers."
SUMMER SESSION II
English 104 ONL—INTRO TO FILM, Slobodnik. ONLINE section
This introductory film studies course aims to develop students’ capacity for critical film viewing and deepened understanding of the cinema experience. We first study analysis of narrative strategies, shot properties, mise-en-scène, acting, editing, and the use of sound in films, especially classical Hollywood movies. We then focus also on different genres and styles of films, including, e.g., film noir and musicals, as well as alternative independent films.
Expect to watch 2-4 films per week, and to write a couple of weekly lessons focused on aspects of film form, styles, and or functions—submitted online, these include several short essays; to take a midterm and a final; and participate in online discussions.
Course film list: (week 1) The Artist (2011), The Player (1992), Singin’ in the Rain (1952), North by Northwest (1959); (week 2) Mildred Pierce (2011), Lost in Translation (2003); (week 3) Chinatown (1974), Citizen Kane (1941); (week 4) Life Lessons from New York Stories (1989); (week 5) The Westerns – choose one from each list: List A Stagecoach (1939), Red River (1948), High Noon (1952), Shane (1953) – List B The Searchers (1956), The Wild Bunch (1969), Dances with Wolves (1990), Unforgiven (1992); (week 6) The Piano (1993), Blade Runner (1982); (week 7) Select one of the following: A Separation (2011), Daughters of the Dust (1991), 8 ½ (1963), I’ve Heard the Mermaids Singing (1987), Monsoon Wedding (2001), The Passenger (1975), Rashomon (1950), Talk to Her (2002), Three Colors: Red (1994), Wings of Desire (1987).
TEXT: Bordwell, David and Kristin Thompson, Film Art: An Introduction, 10th ed., McGraw-Hill
English 109—INTRO TO FICTION. MTuWTh 12:30-1:45
English 109 is designed to introduce students to the critical analysis of prose fiction. By reading a wide range of short and long fiction across several historical periods, we will examine how such narrative strategies as plot, character, point of view and language construct meaning. Individual instructors will bring a variety of texts and interpretive methods to their courses, but special emphasis will be placed on concepts and skills central to good literary critical writing. This course fulfills the campus Advanced Composition requirement.
English 261 X—TOPICS IN LIT & CULTURE, C. Wright. MTuWTh 12:30-1:45
TOPIC: Irish Myth and Legend in the Middle Ages
major requirements (old) – Group I or V
major requirements (new) – pre-1800 (medieval)
This course examines the “Celtic” myths and legends of medieval Ireland. We will read (in modern English translation) medieval Irish tales of gods and goddesses, druids and druidesses, heroes and heroines: tales of voyages to the Celtic Otherworld, of feasts where warriors contend for the “champion’s portion,” of strange births and tragic deaths, of magical transformations, of courtships and cattle-raids. Texts include the Ulster Cycle stories about the boy-hero Cú Chulainn, king Conchobar, Fergus and queen Medb, culminating in the great Irish epic, The Táin Bó Cuailnge (The Cattle Raid of Cooley). In addition to the primary focus on the mythological literature, we will also some texts representative of the “Celtic” spirituality of early Christian Ireland, such as the Lives of Saints Patrick and Brigid and the Voyage of Saint Brendan. As we read the literature we will also study aspects of the history, art, and culture of early medieval Ireland from the pagan Celtic period through the early Christian era and down to the Viking invasions and the Anglo-Norman conquest.
English 301 D—CRITICAL APPROACHES TO LIT & TEXTS, Freeburg. MTuWTh 11-12:15
This course introduces students to different methods to approach literary and other cultural texts. The ultimate goal of the course is to analyze and evaluate critical approaches from Marxism to Psychoanalysis to Queer Studies as well as test students’ ability to ask questions and compose arguments within these schools of thought. In addition to theoretical readings we will sample music, poetry and film in order to put our new ideas to use in our own critical writing. There will be two short papers, a few quizzes, and a final exam.
CW 104 D—INTRODUCTORY NARRATIVE WRITING, Madonick. MTuWTh 11-12:15
CW 104 is the beginning course in the writing of short fiction. There may be some minimal “structuring” and specific assignments, especially in the beginning, to ease the student into the discipline of writing fictional prose. Somewhat less production is expected than in the more advanced courses. Students will be required to submit their own stories for criticism from the class. An anthology of short fiction may be required.
Rhetoric 105 X & F—Writing and Research. X: MTuWTh 12:30-1:45; F: MTuWTh 2-3:15
Instruction in research-based writing and the construction of academic, argumentative essays that use primary and secondary sources as evidence. This course fulfills the Campus Composition I general education requirement. Credit is not given for both RHET 105 and of these other Comp I courses: RHET 101, RHET 102, CMN 111 or CMN 112.
Rhetoric 233 D—Advanced Rhetoric and Composition. MTuWTh 11-12:15
Advanced level instruction in developing research-based arguments of moderate complexity within a special topics format. Introduction to the use of multimodal or other non-print resources as evidence in written arguments. Prerequisite: Completion of campus Composition I general education requirement. Fulfills campus Advanced Composition general education requirement.
B&TW 250—PRINCIPLES OF BUSINESS COMMUNICATION, Multiple sections - see course schedule.
This course teaches students to apply the principles of successful professional communication to business writing tasks. Students will also practice editing and supervising the writing of others. Assignments replicate typical business cases, scenarios, situations and cultures; they also deal with multiple audiences. They range in complexity, length, formatting demands, and the manipulating of genre. This course features an extended section on writing longer reports based on information collected, interpreted and compiled from several sources. This course fulfills the campus Advanced Composition requirement.