An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
Undergraduate Courses
Course Delivery DEFINITIONS:
- Online Courses: In online teaching, 100% of instruction takes place online via Canvas and with supplemental platforms like Zoom. There are two types of online courses: asynchronous and synchronous.
- Asynchronous online: Course is fully online, with lessons, assignments, and activities posted in Canvas with due dates. Students complete coursework, engage in discussions, etc., based upon their own schedules, but are required to meet posted deadlines.
- Synchronous online: Online course that includes real-time class meetings using technology (e.g. Zoom). The number of required meetings varies based upon the particular class, but meetings take place during the scheduled class times. Faculty will inform students of the schedule for real-time meetings in their courses.
- Hybrid Courses: Hybrid courses combine both in-person, on-campus meetings with online instruction. All face-to-face activities take place during the regularly-scheduled meeting times in the rooms assigned on the course listing. The number of in-person meetings varies by course. Faculty will notify students of the exact meeting schedule for their courses.
If your class is not listed as online or hybrid, it will meet fully face-to-face following the noted class schedule.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of this course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One Credit of This Coruse is ONLINE
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of thIS course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One Credit of this course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of this course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of this course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of this course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of this course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of this course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of this cours is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit of this course is ONLINE.
An introduction to college-level writing and research. Emphasis on the writing process as well as on informative and persuasive writing and speaking across a range of situations, audiences, and forms. Instruction in substantial research paper. Students must receive a grade of C or better to satisfy this Core requirement. (C1)
One credit o0f this course is ONLINE.
Topics course that introduces students to the interpretation and appreciation of a wide range of texts. Students acquire knowledge of genre and historical contexts as well as skills necessary to read texts closely, think critically, conduct research, and communicate orally and in writing. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
SPRING 2020:
ENG 106.01 Texts and Contexts: Eco-Writing.
Our environment is threatened in so many ways, and the matter is urgent. This class will be devoted to reading prose and poetry about the natural world, from The Norton Anthology of Nature Writing and the Eco-poetry Anthology. Students will have the opportunity to choose the environmental issue they care most about, to write a research paper and deliver an informative and/or persuasive talk on that subject. Our focus throughout will be on how we can most effectively use our own words, as individuals and in groups, to help preserve our natural world. (L04)
Topics course that introduces students to the interpretation and appreciation of a wide range of texts. Students acquire knowledge of genre and historical contexts as well as skills necessary to read texts closely, think critically, conduct research, and communicate orally and in writing. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
SPRING 2020:
ENG 106.02 Texts and Contexts: Lesbian Literature.
Introduction to lesbian literature through fiction, poetry, essays, and more. We will explore literature written by, about, and for lesbians. We will examine these writings within their social, political, and cultural contexts, including the intersections of race, class, and gender. Readings may include works by Leslie Feinberg, Virginia Woolf, Nancy Garden, and Alice Walker. (L04)
Topics course that introduces students to the interpretation and appreciation of a wide range of texts. Students acquire knowledge of genre and historical contexts as well as skills necessary to read texts closely, think critically, conduct research, and communicate orally and in writing. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
SPRING 2020:
ENG 106.03 Texts and Contexts: Ecofeminism. Paster-Torres.
Introduction to ecofeminist literature through fiction, poetry, essays, and more. We will explore the origins and theories of ecofeminism; examine women’s connection to the earth and its non-human life; and discuss the relationship between the treatment of our planet and the treatment of its women. Readings may include works by Ursula Le Guin, Alice Walker, Toni Morrison, and Margaret Atwood. (L04)
Topics course that introduces students to the interpretation and appreciation of a wide range of texts. Students acquire knowledge of genre and historical contexts as well as skills necessary to read texts closely, think critically, conduct research, and communicate orally and in writing. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
One credit of this course is ONLINE.
SPRING 2020:
ENG 106 Texts and Contexts: Social Commentary in Contemporary Horror Media
Horror holds a unique position among genres; its aggressive, often gruesome representation of the world we live in elicits a different kind of pleasure from its viewing audience, and, likewise, presents its commentary on our shared social spaces by means and strategies that differ drastically from other forms of literature. This course will investigate the ways in which contemporary horror film, literature, and media speak to the world, drawing upon formal elements, tropes, and social symbolism to reflect the darker sides of (social) reality back to us. Whether the reckoning of modernity and empirical hubris in Shelley's Frankenstein or the moral and ethical judgments nascent in Poe's tales of murder and revenge, the horror story emphasizes the ways in which society thinks and feels, evaluating social positions, forcing a reconsideration of the reality we take for granted, and showing us that what hides under the bed, beneath the floorboards, and out in the darkness will never stay put for long. This course will pivot between the development of an analytical apparatus by which students investigate, research, and articulate the formal functions of the horror text (close-reading and visual analysis) and meditation on what it means to live or die in such horrific worlds as these, the latter unveiling the social, historical, and political implications of the genre's form. Ultimately, we will consider the way in which horror, past and present, makes use of its visual and literary devices to subvert, reinforce, and/or reimagine social and political agency. (L04)
Topics course that introduces students to the interpretation and appreciation of a wide range of texts. Students acquire knowledge of genre and historical contexts as well as skills necessary to read texts closely, think critically, conduct research, and communicate orally and in writing. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
One credit of this course is ONLINE.
SPRING 2020:
ENG 106.EL2 Texts and Contexts: Superheroes and the Millennial.
The film and video game industries has helped reimagine American superheroes for the millennial generation. This course explores the significance superheroes from the transmedia perspective of cinema, television, video games, comics, graphic novels, fan culture, and the web. This course is designed in an innovative game-based format. (L04)
Topics course that introduces students to the interpretation and appreciation of a wide range of texts. Students acquire knowledge of genre and historical contexts as well as skills necessary to read texts closely, think critically, conduct research, and communicate orally and in writing. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
One credit of this course is ONLINE.
SPRING 2020:
ENG 106.EL3 Texts and Contexts: Coming of Age.
This class will examine selections that explore personal and cultural rituals and rites of passage negotiated on journeys of self-discovery during this transition into adulthood. The course will include attention to diverse communities, addressing social, political, and historical themes expressed in the works. We will examine issues of race, gender, and multicultural perspectives. (L04)
Topics course that introduces students to the interpretation and appreciation of a wide range of texts. Students acquire knowledge of genre and historical contexts as well as skills necessary to read texts closely, think critically, conduct research, and communicate orally and in writing. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
One credit of this course is ONLINE.
SPRING 2020:
ENG 106-EL4 Texts and Contexts: Games and Modern Culture.
Games both shape and are shaped by culture. Video games are now the largest form of mass entertainment in the world, but they are also applied to education, health, training and battle readiness. This course will be a combination hands on-discussion/theory-based course on the emergence of modern games from the early 1970s arcade games to contemporary Multiple Massive Online Role-Playing Games. We will explore games through the lens of play theory, culture studies, game studies, psychoanalysis, gender, race, ethnicity, sexuality and formal design. During the course will both play and study a variety of games including board games, card games, mobile, online, console, and virtual reality games. Additionally, the course will discuss games in learning, games for change, games and scientific research, and games for health. It will be also be taught in a gamified fashion. (L04)
Introduction to the conventions of literary study for English /Language Arts concentrators. Focus on the relevant literary history and technical conventions of literary genres. Exploration of methodologies of literary criticism/theory. Practice in reading, research, writing, and oral communication skills as needed for future literary study. Course is intended for students in the English Language Arts concentration; should be taken as early as possible. Students may not take both ENG 112 and ENG 114. Fall, Spring.
SPRING 2020:
ENG 114 Introduction to Literary Genres and Traditions.
Introduction to a number of the central concepts and concerns of literary study, with specific attention to genre conventions and interpretive methodologies. Students work across historical eras and cultural traditions to develop the reading, writing, research, and oral communication skills necessary for further literary study.
Introduction to the conventions of literary study for English /Language Arts concentrators. Focus on the relevant literary history and technical conventions of literary genres. Exploration of methodologies of literary criticism/theory. Practice in reading, research, writing, and oral communication skills as needed for future literary study. Course is intended for students in the English Language Arts concentration; should be taken as early as possible. Students may not take both ENG 112 and ENG 114. Fall, Spring.
One credit of this course is ONLINE..
SPRING 2020:
ENG 114 Introduction to Literary Genres and Traditions.
Introduction to a number of the central concepts and concerns of literary study, with specific attention to genre conventions and interpretive methodologies. Students work across historical eras and cultural traditions to develop the reading, writing, research, and oral communication skills necessary for further literary study.
This course will help students think about writing as a profession as well as an art, to learn how to seek out markets and to develop an adaptive flexibility in their writing styles, while building an online portfolio of work to showcase those skills. (C2)
ONLINE Course
This course addresses issues of race, class, gender, ethnicity, sexuality and/or disability in literature and/or film. Attention will be given to historical, socio-cultural, and political factors. This course may be taken more than once, provided it addresses a different topic when taken again. Fulfills diversity requirement. (C2)
SPRING 2020:
ENG 126 Diverse Voices: Disability Studies.
This course addresses issues of race, class, gender, ethnicity, sexual orientation, etc. in literature and/or film. Attention will be given to historical, socio-cultural, and political factors that inform these issues and texts. This course may be taken more than once, provided it addresses a different topic when taken again. Fulfills diversity requirement. (L04)
This course addresses issues of race, class, gender, ethnicity, sexuality and/or disability in literature and/or film. Attention will be given to historical, socio-cultural, and political factors. This course may be taken more than once, provided it addresses a different topic when taken again. Fulfills diversity requirement. (C2)
One Credit of this course is online.
SPRING 2020:
ENG 126 Diverse Voices: African American Women’s Literature.
This course addresses issues of race, class, gender, ethnicity, sexual orientation, etc. in literature and/or film. Attention will be given to historical, socio-cultural, and political factors that inform these issues and texts. This course may be taken more than once, provided it addresses a different topic when taken again. Fulfills diversity requirement. (L04)
Study of literary and historical texts written during the Middle Ages (roughly 500-1500 CE). Texts are in Modern English translations. Students explore the early contexts and ongoing influence of these tales in written and oral/multimedia presentations. (C2)
SPRING 2020:
ENG 134 Visualising Medieval Lives.
A study of literary and historical texts written during the Middle Ages as well as music and even films inspired by the period. Texts are in Modern English translations. Students explore the early contexts and ongoing influence of these tales in written and oral presentations.
An introduction to drama and the theatre. Course explores theatrical experience from the various points of view of those who participate in it, such as the playwright, director, actors, designers, and audience. Class activities include reading dramatic literature, learning about the theatre, experimenting through performance, and attending dramatic performances. (L05)
One credit of this course is ONLINE.
Introduction to recent developments in language study and to the principles of linguistics. Course examines the structure of the English language including phonology, morphology, semantics, and pragmatics, as well as traditional descriptive, prescriptive, and generative-transformational grammars. Students will engage in guided research, writing, and oral presentations focused on language use in its everyday form and related social variables.
ONLINE this course is fully online.
An introductory course in creative writing with practice in and critique of fiction, creative nonfiction, drama, and poetry, as well as readings in and discussions of each genre. In addition to original creative pieces, students will critically examine creative and critical texts. Recommended for students with any level of creative writing experience. Prerequisite: ENG 105 or equivalent. (C2)
SPRING 2020:
ENG 206 Creative Writing.
We will practice self-expression in four genres: fiction, nonfiction, poetry and drama. Class will be conducted largely as a workshop. Weekly prompts will be given, and students will share their work with one another in each class. Our main text will be Imaginative Writing: The Elements of Craft, by Janet Burroway. No prior creative writing experience necessary. A good time will be had by all. (L05)
An introductory course in creative writing with practice in and critique of fiction, creative nonfiction, drama, and poetry, as well as readings in and discussions of each genre. In addition to original creative pieces, students will critically examine creative and critical texts. Recommended for students with any level of creative writing experience. Prerequisite: ENG 105 or equivalent. (C2)
ONLINE course this is an online course.
Building upon ENG 112's (or 114’s) emphasis on literary genres and interpretive methods, Survey of American Literature continues to prepare students for literary study at the 300 level. Through the study of a range of texts, students will become better acquainted with significant movements and periods in colonial American and U.S. literary history. Transatlantic and global literary and cultural relations will be explored. English and English Adolescence Education majors are required to take ENG 210, ENG 211 or ENG 212 and are urged to do so in the second year. Prerequisite: ENG 112 or 114.
Development in theory and practice of the skills of reading aloud to present informed sharing of literary selections, increase understanding of literary works, and provide enjoyment to reader and audience. Presentations include prose, poetry, and drama.
1 credit of this course is online.
Development in theory and practice of the skills of reading aloud to present informed sharing of literary selections, increase understanding of literary works, and provide enjoyment to reader and audience. Presentations include prose, poetry, and drama.
SPRING 2020:
ENG 218 Poetry in Performance.
Poetry is often thought of as a private art, and the poet as a reclusive artist who is a misunderstood genius. But poetry began as spoken art form, and that idea has never gone away. This class focuses on poetry as oral art form, performed for an audience. Students will record poetry performances each week, work with published and original work, and study the craft of performing poetry and storytelling. We will consider some of the traditions, movements, and cultural contexts in which poems are performed. The class will culminate in public performances. (L05)
Introduction to American dramatic literature from the nineteenth and twentieth centuries. Emphasis is placed on the emergence of a genuinely American dramatic art form and on the influence of different movements in the theatre on the evolution of the American playwright. (L05)
One credit of course is online.
SPRING 2020:
ENG 222 American Drama: Critical Interventions in Musical Theatre.
Musical theatre is frequently touted as a uniquely “American” art form, its history, stage conventions, and stories seen as speaking to specifically American needs and tastes. But to which Americans has musical theatre been appealing and why? Musical theatre has historically included racist stage practices, sexist tropes, and heteronormative storytelling conventions. Yet, today’s musical theatre frequently embraces inclusivity, often providing necessary representation and escapist fare for a diverse group of fans. How do we negotiate musical theatre’s problematic past with its contemporary gains for representation? This course explores contemporary original musicals and revivals that tackle issues of representation in unique and interesting ways. We will examine these productions through various critical lenses, including critical race theory, gender studies, and queer theory. Key case studies will include Fun Home, Once on this Island, and Hamilton, among others. While we will briefly contextualize older musicals within our critical framework, our primary focus will be on discussions that move the genre forward for an increasingly diverse society. Ultimately, not only will we interrogate the ways in which musical theatre presents American society on stage, but also, we will examine how the shifting definition of what it means to be “American” prompts the genre to continuously adapt for an ever-changing modern society. (L05)
Examines a range of artistic works produced by women after 1800. Readings may include various genres such as the novel, drama, poetry, nonfiction prose, memoir, film, and/or music. Course focuses on how women’s experiences and their artistic responses are shaped by conditions such as ethnicity, geography, politics, class, sexual orientation, work, education, and physical ability. Fulfills diversity requirement. (C2)
One credit of this course is ONLINE.
SPRING 2020:
ENG 227 Women Authors/Filmmakers.
This course will explore the contributions of six women filmmakers to modern and contemporary English-language cinema. We will study the ways that these women have gone about the art and business of filmmaking within the contexts of established studio systems and the independent film. The six directors we will study are Kathryn Bigelow, Lisa Cholodenko, Ava DuVernay, Maggie Greenwald, Julie Taymor, and Chloé Zhao; we will study one film by each of these directors in depth. These six directors as well as filmmakers such as Sofia Coppola, Nora Ephron, Mary Harron, Amy Heckerling, Karyn Kusama, Patty Jenkins, Kimberly Peirce, and Dee Rees will be represented in an extended list of filmmakers and their films from which students will select works for their film review and final essay assignments. (L04)
Selections of literary works from the early medieval period through the seventeenth century with attention to the changing social and cultural history of Britain. (C2)
One credit of this course is ONLINE.
SPRING 2020:
ENG 230 British Literature: Poetry of the Senses.
The Renaissance exists in our imagination as a richly detailed period: we envision its food, art, music, and sculpture as full of life and pleasure. Looking at the poetry, medicine, and philosophy of this period in England, this course will examine several interconnected questions. First, how did the early modern English think about their senses? What did it mean to touch, taste, hear, smell, touch? How did they use these senses to think about the world? Second, how does poetry, as an artistic medium, work with these senses in order to connect with its audience? How does it represent and recreate those physical sensations? And finally, how do we think of our senses now? Do we have the same five senses as someone four hundred years ago? Can we recreate the sights, smells, sounds, feelings, or tastes of history? (L04)
This course introduces and examines the wide range of experiences that comprise Asian American literature. Course topic may address a specific theme, time period, and/or genre. Readings may include authors from various cultural and ethnic backgrounds (including but not restricted to Chinese, Japanese, South Asian, Korean, and Filipino) to show the diversity of artistic reactions to community, citizenship, family, gender, and/or class. Fulfills the diversity requirement. (C2)
One credit of this course is ONLINE.
SPRING 2020:
ENG 237 Introduction to Asian American Literature. Chan.
Twentieth-century Asian American Literature will be the focus of this course, which will examine the efforts of second-generation Asian-American writers to create unique voices. Readings for this class will explore some of the ethnic diversity that causes the Asian American label to be constantly negotiated in public, in private, and in writing. Possible readings include The Woman Warrior by Maxine Hong Kingston, No-no Boy by John Okada, oral histories, and short stories by Bienvenido Santos. (L04)
This course uses workshop methods to introduce students to the writing of poetry, playscripts and short fiction, as well as to effective methods for teaching creative writing. Students read literary texts in the genres and compose their own imaginative works. Workshops promote discussion and critique of student work. Prerequisite: ENG 105 or equivalent.
First half of semester: Jan 13 - March 11, 2018.
This course uses workshop methods to introduce students to the writing of literary prose, including lyric essays, personal essays, experimental essays, and first-person narratives. The course will also address methods for the teaching of prose writing. Students read literary prose and compose their own prose works. Workshops promote discussion and critique of student work. Prerequisite: ENG 105 or equivalent.
Second half of semester: March 12 - May 6, 2018.
This course will cover the practice in one or more nonfiction forms, with attention to strategies for revision and editing. Particular semesters may focus on memoir, personal essay, flash nonfiction, journal writing, travel pieces, interviews, and oral histories. In addition to original creative pieces, students will critically examine creative and critical texts. This course may be taken more than once, provided it addresses a different topic when taken again. Some research may be required. (C2)
SPRING 2020:
ENG 251 Writers on Writing.
What is the purpose of creative writing, and what determines “great” (as in innovative, influential, and exceptional) creative work? Throughout this course, in hope of answering this question—as well as raising a few more—we will examine a number of literary texts by poets, essayists, and novelists that address the act and purpose of creative writing, as well as what aesthetic sensibilities a writer should possess before s/he attempts to write. Students will be expected to complete a number of writing assignments, culminating in the production of their own “literary manifesto.” The authors we will read may include, but are not necessarily limited to, Italo Calvino, Anne Carson, Samuel R. Delany, T. S. Eliot, Trey Ellis, E.M. Forster, Jonathan Franzen, William Gass, William Gaddis, Henry James, Milan Kundera, Toni Morrison, Francine Prose, and Alain Robbe-Grillet. (L05)
In this course, students gain publishing and editing experience by joining the editorial staff of the college's online literary magazine, Pine Hills Review. As a class, we will produce a special feature, determine a theme, put out a call for work, and read and deliberate over submissions in editorial meetings. Students will also learn the history and foundations of small presses and literary journals, particularly online publications. Prerequisite: ENG 105 or equivalent.
ONLINE this course is online.
An introduction to works assigned to William Shakespeare written between 1590 and 1600, with attention to genre, structure, language, and some of the contexts of their creation and performance. These contexts include the dramatic practices of Shakespeare's day and concepts including gender, race, and class relations. We will use the work of literary scholars to deepen our understanding of the works and study film versions of one or more of the plays. (C2)
One credit of this course is ONLINE.
An introduction to works assigned to William Shakespeare written between 1600 and 1613, with attention to genre, structure, language, and some of the contexts of their creation and performance. These contexts include the dramatic practices of Shakespeare's day and concepts including gender, race, and class relations. We will use the work of literary scholars to deepen our understanding of the works and study film versions of one or more of the plays. (C2)
One credit of this course is ONLINE.
In the 1840s—when he wrote such famous works as “The Murders in the Rue Morgue,” “The Tell-Tale Heart,” and “The Black Cat”—Edgar Allan Poe was living just a short walk from a state-of-the-art Philadelphia prison. Founded on humanitarian ideals of reform rather than punishment, the Eastern State Penitentiary emphasized work, routine, prayer, and solitude instead of bodily correction. Some praised the ESP as a prison for a more enlightened and benevolent age; but English novelist Charles Dickens, on visiting the prison in 1842, witnessed a “ghastly…tampering with the mysteries of the brain…worse than any torture of the body.” Critics tend to see Poe as the “odd man out” of the American literary tradition, sharing few of the defining concerns of contemporaries like Emerson, Whitman, Stowe, and Hawthorne. Indeed, many see him as a man before his time, offering in his work insights into the human mind that anticipate twentieth-century psychoanalysis. But in this course, we’ll make Poe speak to our world by making better sense of him in his world. We’ll come to see Poe as a writer active in the cultural debates—such as those over prison reform—that shaped modern America. We’ll see Poe’s poems, essays, and tales as casting light on the mysteries and horrors of his America—and our own. (C2)
One credit of this course is ON:INE.
SPRING 2020:
ENG 271 Crime and Punishment in Poe’s America.
In 1838-1844, when he wrote “The Murders in the Rue Morgue,” “The Tell-Tale Heart,” “The Black Cat,” and other famous works, Edgar Allan Poe was living in Philadelphia in the shadow of the Eastern State Penitentiary. Founded upon Enlightenment ideals as well as reflecting elite anxieties about the unruliness and increasing diversity of urban populations, the ESP emphasized work, routine, prayer, and solitude instead of physical punishment. Reformers saw the penitentiary as a moral improvement on the terrors of the pillory, the lash, and the iron gag. But English novelist Charles Dickens, touring the prison in 1842, described what he witnessed as “ghastly…a tampering with the mysteries of the brain…worse than any torture of the body.” This course reads Poe’s major fiction, poetry, and critical writings in dialogue with nineteenth-century ideas about crime (broadly construed), criminality, and social control. Topics may include prison reform; capital punishment; plagiarism and literary piracy; population and urban space; scientific racism and early criminology; the origins of detective fiction; and Poe’s belief that the death of a beautiful woman is “the most poetical topic in the world.” Readings include a generous selection from Poe’s major writings, phrenology handbooks, reform tracts, murder pamphlets, a prison biography, criticism, theory, and more. (L04)
In the 1840s—when he wrote such famous works as “The Murders in the Rue Morgue,” “The Tell-Tale Heart,” and “The Black Cat”—Edgar Allan Poe was living just a short walk from a state-of-the-art Philadelphia prison. Founded on humanitarian ideals of reform rather than punishment, the Eastern State Penitentiary emphasized work, routine, prayer, and solitude instead of bodily correction. Some praised the ESP as a prison for a more enlightened and benevolent age; but English novelist Charles Dickens, on visiting the prison in 1842, witnessed a “ghastly…tampering with the mysteries of the brain…worse than any torture of the body.” Critics tend to see Poe as the “odd man out” of the American literary tradition, sharing few of the defining concerns of contemporaries like Emerson, Whitman, Stowe, and Hawthorne. Indeed, many see him as a man before his time, offering in his work insights into the human mind that anticipate twentieth-century psychoanalysis. But in this course, we’ll make Poe speak to our world by making better sense of him in his world. We’ll come to see Poe as a writer active in the cultural debates—such as those over prison reform—that shaped modern America. We’ll see Poe’s poems, essays, and tales as casting light on the mysteries and horrors of his America—and our own. (C2)
One credit of this coruse is ONLINE.
SPRING 2020:
ENG 271 Crime and Punishment in Poe’s America.
In 1838-1844, when he wrote “The Murders in the Rue Morgue,” “The Tell-Tale Heart,” “The Black Cat,” and other famous works, Edgar Allan Poe was living in Philadelphia in the shadow of the Eastern State Penitentiary. Founded upon Enlightenment ideals as well as reflecting elite anxieties about the unruliness and increasing diversity of urban populations, the ESP emphasized work, routine, prayer, and solitude instead of physical punishment. Reformers saw the penitentiary as a moral improvement on the terrors of the pillory, the lash, and the iron gag. But English novelist Charles Dickens, touring the prison in 1842, described what he witnessed as “ghastly…a tampering with the mysteries of the brain…worse than any torture of the body.” This course reads Poe’s major fiction, poetry, and critical writings in dialogue with nineteenth-century ideas about crime (broadly construed), criminality, and social control. Topics may include prison reform; capital punishment; plagiarism and literary piracy; population and urban space; scientific racism and early criminology; the origins of detective fiction; and Poe’s belief that the death of a beautiful woman is “the most poetical topic in the world.” Readings include a generous selection from Poe’s major writings, phrenology handbooks, reform tracts, murder pamphlets, a prison biography, criticism, theory, and more. (L04)
Practice in specific aspects of performance and professional presentation in relation to pedagogical and other professional situations. Intended for education majors and students needing to fulfill the oral communications segment of their C1 requirement. Students who transfer in a course equivalent to ENG 104 may take this course to complete their C1 requirement.
First half of semester: Jan 13 - March 11, 2019.
Practice in specific aspects of performance and professional presentation in relation to pedagogical and other professional situations. Intended for education majors and students needing to fulfill the oral communications segment of their C1 requirement. Students who transfer in a course equivalent to ENG 104 may take this course to complete their C1 requirement.
Second half of semester: March 14 - May 8, 2019.
In-depth exploration of film and filmmaking through a variety of theoretical lenses with significant attention to the vocabulary of film criticism, technical production, and distribution. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
SPRING 2020:
ENG 279 Film and Ecology.
In this film studies course you will become conversant in many of the elements of film form that analysts use to study movies. This will involve much reading and writing—as well as viewing. We will study examples of a range of film genres (documentary, mockumentary, sci-fi, romcom and other types of features), being especially attentive to how to interpret movies in light of ecological issues. For the purposes of this class, ecology means questions around climate change, natural resources (air, water, petroleum, etc.), food production and consumption, and human/animal relations. All films are available on the Kanopy database. (L04)
In-depth exploration of film and filmmaking through a variety of theoretical lenses with significant attention to the vocabulary of film criticism, technical production, and distribution. This course may be taken more than once, provided it addresses a different topic when taken again. (C2)
One credit of this course is ONLINE.
SPRING 2020:
ENG 279 Film Noir.
This course will focus on the genre of noir and 'neo-noir' which offer dark views of life from the crime-filled streets -- or possibly just romantic ideas about that underworld. (L04)
Offers students the opportunity to study various styles and techniques of stage acting, such as classical, Shakespearean, Stanislavskian, and more recent approaches. Practical performance skills will be emphasized. (L05)
Practicum in play production. While working with the drama director to prepare the play productions for the semester, students become involved in a wide variety of stage activities, including costuming, makeup, props, scenery, sound effects, and character portrayal. A minimum of 75 hours of commitment is required. Course may be taken more than once (4 credits max). Fall, Spring
Course focuses on media literacies as they relate to film, video, podcasts, digital networks and other contemporary media. Designed for education majors. This course may be taken more than once, provided it addresses a different topic when taken again. Pass/fail.
Weekend course meets Friday February 14th 5:00-9:00PM Saturday February 15th 9:00AM- 3:00PM, Sunday February 16th 1:00-3:00PM
SPRING 2020:
ENG 296 Teaching Digital Writing: Film/Media Short Course for Teachers.
This course will look at how educators can use networked technology such as blogs, wikis, RSS, and social networking sites to enhance their classroom pedagogy, as well as tools for crafting digital texts. These sites will be assessed for “teachable moments” that can guide students in acquiring the necessary digital literacies to effectively navigate our ever-connected world. This weekend course will involve hands-on work with composing texts across various media and genres, while we simultaneously think through the most effective means of teaching students how to become educated, critical networked individuals themselves.
Writing dramatic playscripts for the stage and other media. Students will work on projects with numerous specialized assignments, in-class critiques, readings, and the completion of a final one-act script and portfolio of exercises and journal entries. Knowledge of the genre and college-level creative writing experience required. Fulfills writing-intensive requirement. Prerequisites: ENG 105 and 200-level English or Communications writing course, or consent of the instructor based on writing sample.
One credit of course is online.
Study of twentieth and twenty-first century critical theory with attention to current trends. Students develop facility with theoretical concepts and acquire critical tools with which to read, write, and theorize about literature, film, and other texts. Prerequisites: ENG 112 or ENG 114 and two literature courses at the 200-level, or one 200-level and one 300-level. Fall, Spring.
One credit of this course is ONLINE.
SPRING 2020:
ENG 330 Literary Theory & Criticism.
We will be examining primarily canonical texts and deploying an eclectic range of theoretical approaches to explore how literature has represented nature. Texts could include Shakespeare’s The Tempest, Defoe’s Robinson Crusoe, Melville’s Billy Budd, Wilson’s Fences, Le Guin’s The Left Hand of Darkness, Dickey’s Deliverance, Maclean’s A River Runs Through It, Abbey’s Desert Solitare, Thoreau’s Walden, Silko’s Ceremony, Hemingway’s The Old Man and the Sea and poetry by Wordsworth, Frost, Snyder, and Dickinson. We will be looking at two films as well: Coppola’s Apocalypse Now and Hitchcock’s Rebecca.
Examination of representative Shakespeare plays as they have been translated and appropriated in movies. We will pay particular attention to the political and cultural work performed by these processes. Coursework includes the study of play texts, film theory, scholarship on Shakespeare on film, and of movies by renowned and lesser-known directors, including, perhaps, examples of teen Shakespeare, Westerns, documentaries, and silent film. Fulfills writing-intensive requirement. Prerequisites: ENG 112 or 114 and two literature courses at the 200-level.
SPRING 2020:
ENG 346 Shakespeare on Film.
Studying films based on the work of Shakespeare will require us to become competent in the language of film form, as well as early modern English. Our study of the plays will include consideration of Shakespearean stagecraft and some of the specific decisions actors and directors must make in interpreting for the stage. We will spend more time, however, on films based on Shakespeare’s works—through the study of the discursive fields in which our specific films are enmeshed, as well as film form.
We will look at a variety of kinds of Shakespeare films produced in Britain, Japan, Australia, Poland, Hollywood, and New York: films that pay homage to the stage tradition, one that parodies Macbeth (along with much else), and others that appropriate Shakespeare to engage with issues contemporary to the lives of their first viewers. These issues include organized crime, race relations, war, prison life, changing conceptions of gender, and gay rights. Students will complete independent research projects.
The Shakespeare texts this semester will be Julius Caesar, Hamlet, Othello, Macbeth, and The Tempest. Fulfills the writing intensive requirement.
Course addresses texts published during the Victorian period (approximately 1837-1901) and relevant social, historical, aesthetic, and critical contexts affecting literary/artistic production. Readings may range from poetry, prose and/or drama from authors such as Elizabeth Gaskell, Charles Dickens, Wilkie Collins, the Brontë Sisters, Elizabeth Barrett Browning, and others. This course may be taken more than once, provided the course addresses a different topic when taken again. Fulfills writing-intensive requirement. Prerequisites: ENG 112 or 114 and two literature courses at the 200-level.
One credit of this course is online.
SPRING 2020:
ENG 355 Victorian Literature: Occupational Hazards.
The Victorian world produced numerous new industries and jobs that challenged gender expectations and class boundaries. Achieving the leisured state and putting on the right show of leisure, as opposed to working, often became the goal of socially ambitious characters appearing in Victorian literature. By the end of the nineteenth century, such preoccupations with labor and leisure changed with the onset of new worlds and new possibilities. Possible readings include works from authors such as Charlotte Brontë, Elizabeth Gaskell, Ella Hepworth Dixon, Charles Dickens, and Anthony Trollope.
This course provides concentrated study in a select set of narratives written after 1970. Works may be organized around a theme, style, and/or region. Primary text genres may include long and short fiction, drama, film, autobiography and other creative nonfiction, and digital narratives. Course may be taken more than once, provided it addresses a different topic when taken again. Fulfills writing-intensive requirement. Prerequisites: ENG 112 or 114 and two literature courses at the 200-level.
One credit of this course is ONLINE.
SPRING 2020:
ENG 373 Nonlinear Narratives.
Although nonlinear narratives can be traced back to Homer’s Iliad and later to Joyce’s Ulysses, which became known for its wandering, stream-of-consciousness narrative, this class is going to begin with nonlinear “gamebooks” published in the early 1980s known as Choose Your Own Adventure novels. From there the class will study a range of non-linear narratives in the genres of fiction, autobiography, critical commentary, film, and e-literature. We will trace the evolution of these ruptured narratives from print-based to digital texts. Utilizing theories of new media to study and analyze these works, the course will explore both the constraints and affordances of nonlinearity and seek to better understand how the computer has reshaped the way(s) that we read and write. Throughout the course we will work to expand our definitions of narrative, text, and literature. The course will include coverage of writers and filmmakers such as Shelley Jackson, Jennifer Eagan, Jorge Luis Borges, Janet Murray, Mark Z. Danielewski, and Quentin Tarantino.
An opportunity to write a major piece or a series of shorter pieces that represent advanced-level work in poetry, fiction, or creative non-fiction. Open only to students who have completed 12 credits with grades of B or better in English writing courses, including one 300-level writing course. Prerequisites: 90 credits toward degree, ENG 105, 200-level English writing course, and at least one 300-level ENG writing course. Permission of the instructor by Advisement Day of the prior semester is required before registering.
This course provides students with the practical experience of applying the knowledge and skills learned in their coursework in actual work environments. Students engage in fieldwork opportunities at such sites as newspapers, schools, non-profit organizations, government agencies, theaters, libraries, and other professional contexts. Application required. In the semester preceding the internship, students work with the internship coordinator to find placement and begin the application process. No late-registration will be accepted, as critical assignments and documents must be completed before the semester begins. Open to English majors who have completed 90 credits toward the degree. Prerequisites: ENG 112 or 114, ENG 330, one 300-level writing course, and at least one 300-level literature course. Students who have completed at least 12 credits toward the writing minor may also apply to take this course. Fall, Spring
Must be pre-arranged with internship supervisor.
All undergraduate English and English-Adolescence Education majors must submit a portfolio of their work toward the end of their course of study. Students should register for ENG 497 in the same semester as ENG 498 Senior Seminar. Pass/fail. Open to English and English: Adolescence Education majors who have completed 90 credits toward their degree. Prerequisites: ENG 112 or 114, ENG 330, one 300-level writing course, and at least one 300-level literature course. Fall, Spring
English Portfolio: For English majors only.
All undergraduate English and English-Adolescence Education majors must submit a portfolio of their work toward the end of their course of study. Students should register for ENG 497 in the same semester as ENG 498 Senior Seminar. Pass/fail. Open to English and English: Adolescence Education majors who have completed 90 credits toward their degree. Prerequisites: ENG 112 or 114, ENG 330, one 300-level writing course, and at least one 300-level literature course. Fall, Spring
English Portfolio: for Englsih Majors only.
In-depth study of a major writer, genre, or literary movement, involving comprehensive readings of primary texts, extensive critical research, oral presentation of research and analysis, and a major paper. Open to English and English-Adolescence Education majors who have completed 90 credits toward their degree. Prerequisites: ENG 112 or 114, ENG 330, one 300-level writing course, and at least one 300-level literature course. Fall, Spring
SPRING 2020:
ENG 498-01: Senior Seminar: Modernism.
This capstone course is the culmination of your years of work as an English major. We will focus on the Modern period, using The Norton Anthology of Modern Poetry. We will read together such Modernist poets as T. S. Eliot, Robert Frost, Langston Hughes, Edna St. Vincent Millay, Marianne Moore, Gertrude Stein, Wallace Stevens, William Carlos Williams and W. B. Yeats. You will write a substantial research paper, whether on one of these authors or another of your choosing, following your own interests. If you would prefer to write on fiction, a short list of authors would include James Joyce, Virginia Woolf, William Faulkner, F. Scott Fitzgerald, Joseph Conrad, and Zora Neal Hurston. You will be expected to deliver a presentation of your work to the class, and encouraged to do so at the English Symposium.
Individual reading and research under direction of a full-time English faculty member. Independent study must be on a topic not regularly offered in the English curriculum and may not substitute for a required course. Student must obtain permission from faculty director by Advisement Day of the prior semester and demonstrate readiness for independent study by completing independent study form before registering (form available online and in Registrar’s Office). Not open to first-year students.
Independent Study form required.
Individual reading and research under direction of a full-time English faculty member. Independent study must be on a topic not regularly offered in the English curriculum and may not substitute for a required course. Student must obtain permission from faculty director by Advisement Day of the prior semester and demonstrate readiness for independent study by completing independent study form before registering (form available online and in Registrar’s Office). Not open to first-year students.
Individual reading and research under direction of a full-time English faculty member. Independent study must be on a topic not regularly offered in the English curriculum and may not substitute for a required course. Student must obtain permission from faculty director by Advisement Day of the prior semester and demonstrate readiness for independent study by completing independent study form before registering (form available online and in Registrar’s Office). Not open to first-year students.
Individual reading and research under direction of a full-time English faculty member. Independent study must be on a topic not regularly offered in the English curriculum and may not substitute for a required course. Student must obtain permission from faculty director by Advisement Day of the prior semester and demonstrate readiness for independent study by completing independent study form before registering (form available online and in Registrar’s Office). Not open to first-year students.