MWF 9-9:50 AM
Gail Radley
ENGL 201 is about writing effective prose in a variety of rhetorical modes. In this course, you will have the opportunity to experiment with different stylistic approaches and hone your writing skills in order to communicate clearly, gracefully, and powerfully, as well as analyze and appreciate the technique of classmates and of professional writers.
T 2:30-5:30 PM
Mary Pollock
If you like to write and you like to get out and experience the natural world, sign up for ENGL 207, a writing intensive course that meets off campus and outdoors every other week in locations such as Blue Spring State Park, the beach in New Smyrna, Hontoon Island, and natural areas around campus. Some locations are chosen by the class. Classroom weeks are mostly devoted to writing workshops and peer editing. This course is writing intensive.
MWF 11-11:50 AM
Prof. Grady Ballenger
An introduction to questions, concepts, and perspectives that inform the study of narrative. The course emphasizes close, attentive critical reading as well as methods of critically interpreting narrative texts. Texts of many eras, cultures, and genres are examined, and critical terms, conventions, and traditions of discourse appropriate to the study of narrative are introduced. In spring 2014, the course will explore a variety of examples of narrative, from folktales and riddles to a novel and an ancient epic, from narrative poems to a history painting, and from silent films to short fiction. ENGL241A is a writing intensive course; it fulfills the General Education requirement for a course in Creative Arts (A) and may also be used for one of the requirements for the Major or Minor in English. Understanding how to tell a story or to interpret one, taking into account all that is explicit as well as all that is deliberately left out, is an important skill for a wide range of careers after college, but the immediate goal of this course is to open up literary and aesthetic pleasures that are at the heart of liberal education.
M 6-9 PM
Terri Witek
This gateway class offers a close, selective look at one of the oldest structures of human thought to make its way into words. From Shakespeare's sonnets to Clarice Lispector's conceptual prose, we'll consider exemplary forms and exemplary makers, take poetic images off-page, and consider contemporary poetry's lyric re-mixes.. You'll write several types of papers and a lyric poem of your own.
MW 12-1:15 PM
Lori Snook
This course is to introduce you to the study of drama on the page and the stage. Because this is a literature course, we'll read and analyze a variety of play-texts from Greek tragedy to contemporary English and American work, stopping by Shakespeare on the way; those analyses will include discussion of form, language, structure, plot, and textual history (for example, whether a play's breakdown into scenes is due to the writer or a later editor). Because this is a course about drama, we'll also discuss performance history and theory, and we'll do readers' theatre and occasional scene-study to help us understand the ways in which drama is embodied. Assignments will include a reading journal, one in-class essay, three papers (at least one requiring research and revision), a presentation on a work chosen independently, and a take-home final in which you explain your own dramatic aesthetic in terms of the course reading. This course can fulfill the A General Education requirement, or an English major or minor requirement; it is a Writing Intensive Class.
MW 2:30-3:45 PM
Megan O'Neill
Grammar is the glue that holds together ideas in (hopefully) elegant syntactic structures, but you have to know how it works before you can make it work for you. This course covers the connection between grammar and rhetoric by means of close examination of the parts of sentences, the options for assembling those parts, and the techniques for achieving more out of written language than you might have thought possible. Because English grammar can be aggravating and confounding, students should have a healthy sense of humor as we learn it from scratch. Dangling clauses? Misplaced modifiers? Parallel prepositions? If all this is a mystery, but you have a sneaking suspicion you should understand it, join us. Students should expect a midterm and final exam, plenty of homework, and a lot of hands on work revising their own prose. Class meets MW 230 p.m. – 345 p.m.
TR 1-2:15 PM
John Pearson
In this junior seminar we will consider different theories of the beautiful, its definition, effect, purpose, and value. We will read literature and essays, view images, that present ideas about beauty, ranging from essentialist arguments that beauty is absolute and unchanging to relativist arguments that contend that beauty is in the eye of the beholder. We will consider the political, social, cultural, and personal implications of beauty as a construct largely through our discussions of literature and theory. Readings may include Shakespeare's sonnets, Scarry's On Beauty and Being Just, Nabokov's Lolita, Wilde's The Picture of Dorian Gray, and Hooks's Bone Black.
As a junior seminar, this course is writing, reading, and discussion intensive, and following the principles of integrative learning, students are encouraged to contribute interdisciplinary perspectives from other courses and other programs of study. There are no prerequisites to this course, but students must be juniors to enroll.
This course is an upper-division elective in the English major and minor, it meets the Human Diversity (D) requirement, and it is a Gender Studies elective.
MW 4-5:15 PM
David Houston
It is hard to overestimate the influence Jewish writers in the twentieth century have had on our understanding of history, aesthetics, war, and the Holocaust. This course addresses these themes in the writings of Philip Roth, Emmanuel Levinas, Anne Frank, Wendy Wasserstein, Lyudmila Ulitskaya, Danilo Kiš, Yevgenia Ginzburg, and others.
MW 4-5:15 PM
Mary Pollock
This is a "classic" college literature course: students in this class will study "classic" works of British literature written between 1790 and the present, write essays in response to them (some with research and some without), and contribute to class discussions along with the professor's lectures. If you're interested in Lord Byron ("mad, bad, and dangerous to know"), Elizabeth Barrett Browning (eloped to Italy with Robert Browning, away from her controlling father's London home), Oscar Wilde, James Joyce, and Angela Carter, then you'll be in the right place.
TH 11:30-12:45 PM
Tom Farrell
Our title, "Text—Criticism—Theory," indicates our concern with three central activities of literary and cultural study: assimilation of a large tradition of texts, the attempt to understand those texts, usually on their own terms, and the rigorous, theoretical analysis of their presuppositions and procedures. Because those aims are often at odds with one another, and because the department's curriculum assigns to this course a central concern with theoretical questions, the plurality of our time will be spent on the third topic. But acts of reading, criticizing and theorizing, can never be wholly separated: we will engage in all three throughout the semester, always seeking to expand our understandings about texts and criticism, to ask larger, more complex questions about all the reading we do. To make that agenda more manageable, we will organize our inquiries around three large questions: what do we imagine a text to be? How do texts define the self and the "other" (and the relationship of self to other)? How is power incorporated in texts?
We will enjoy reading a play, a few poems, a novel and... something else; we will read—and write—some criticism of those texts in order to extend our understandings of them; mostly we will seek to expand theoretically our sense of the ways we might understand those texts in our critiques of them.
TR 2:30-3:45 PM
Mark Powell
Is it possible that, as the critic James Wood claims, with Flaubert 'everything begins anew'? Did Madame Bovary really alter the trajectory of the novel? This course will use Madame Bovary as a touchstone for tracking the ways in which novelists have responded to, and reacted against, 'the demands of style.' Along with Flaubert we will read works by Agee, Nabakov, Fox, Woolf, Baldwin, and McCann.
TR 4-5:15 PM
Michael Barnes
We will explore how authority (ethos) is generated institutionally in corporate, political, and legal spheres. Historical and current speeches, user manuals, mission statements, and collective philosophies, for example, will guide our analysis of effective written and oral strategies that produce credibility. As a means to contextualize and theorize our discussion, you will craft texts associated with starting a company, trying a legal case, and originating an intentional community. These three course-long projects will be group oriented, but individual portfolios will determine how you are evaluated. A final group presentation is required.
MW 12-1:15 PM
Mary Pollock
This is the capstone course for your English major. As long as it's relevant to English studies, the topic of your choice is the topic we'll work on together. The final senior thesis will be 20-25 pages .In this class, you'll refine research and writing skills, practice peer editing, meet frequently with the professor, and present an oral version of your research at the end of the semester. At that point, we'll have guests in the class.
MW 2:30-3:45PM
Megan O'Neill
Grammar is the glue that holds together ideas in (hopefully) elegant syntactic structures, but you have to know how it works before you can make it work for you. This course covers the connection between grammar and rhetoric by means of close examination of the parts of sentences, the options for assembling those parts, and the techniques for achieving more out of written language than you might have thought possible. Because English grammar can be aggravating and confounding, students should have a healthy sense of humor as we learn it from scratch. Dangling clauses? Misplaced modifiers? Parallel prepositions? If all this is a mystery, but you have a sneaking suspicion you should understand it, join us. Students should expect a midterm and final exam, plenty of homework, and a lot of hands on work revising their own prose.
TR 2:30-3:45 PM
Mark Powell
Is it possible that, as the critic James Wood claims, with Flaubert 'everything begins anew'? Did Madame Bovary really alter the trajectory of the novel? This course will use Madame Bovary as a touchstone for tracking the ways in which novelists have responded to, and reacted against, 'the demands of style.' Along with Flaubert we will read works by Agee, Nabakov, Fox, Woolf, Baldwin, and McCann.
TH 11:30-12:45 PM
Tom Farrell
TBA
TR 4-5:15 PM
Michael Barnes
We will explore how authority (ethos) is generated institutionally in corporate, political, and legal spheres. Historical and current speeches, user manuals, mission statements, and collective philosophies, for example, will guide our analysis of effective written and oral strategies that produce credibility. As a means to contextualize and theorize our discussion, you will craft texts associated with starting a company, trying a legal case, and originating an intentional community. These three course-long projects will be group oriented, but individual portfolios will determine how you are evaluated. A final group presentation is required.
TTH 11:30-12:45 PM
Andy Dehnart
Literary or creative nonfiction transforms the true stories of actual people, places, and things into engaging, insightful, artful literature. It is a genre that has deep roots in literary history, but is also constantly evolving. Besides examining new and classic pieces to learn about the fourth genre, we'll write short- and long-form pieces, and learn how to give each other constructive and critical feedback in workshop.
MW 4-5:15 PM
Lori Snook
This course is an introduction to playwriting and screenwriting. The heart of the course will be your writing a one-act play and the first act of a screenplay, both of which will be workshopped extensively before your final drafts are submitted. To prepare you to write, we'll also work on the basics of the craft and read sample plays and scripts. This course can fulfill an A General Education requirement.
W 6-9 PM
Mark Powell
A workshop building on techniques introduced in ENCW 312 intended to help students develop their skills in such fiction techniques as characterization, plot, setting, point of view, and style. Requires credit for ENCW 312 or ENCW 319 and permission of instructor. This course may be repeated.
MW 4-5:15 PM
Lori Snook
This course is only for those few, those happy few who've already taken the first drama workshop. The heart of the course will be your work on a full-length play or screenplay, or two one-acts of your choice; you'll propose the project, workshop it in progress (using Blackboard as we go), and do outside research and reading appropriate to your project. IMPORTANT: The class meetings are small-group workshops in Dr Snook's office; time and days agreeable to all will be determined in January.
T 6-9 PM
Terri Witek
For students who have already completed one course in any studio art (Creative Writing, Art, Digital Art, Theater)'and want to further their skills among writers and artists who challenge each other with cross-disciplinary prompts and techniques.'We'll work alone and collaboratively, work outside, work ephemerally, and create sustained bodies of new work. For those already working across different media and for those single-genre specialists who'd like to make work using new strategies.
Permission of Instructor
Note: All 400 level ENCW courses may be repeated.
TH 11:30-12:45 PM
Andy Dehnart
Literary or creative nonfiction transforms the true stories of actual people, places, and things into engaging, insightful, artful literature. It is a genre that has deep roots in literary history, but is also constantly evolving. Besides examining new and classic pieces to learn about the fourth genre, we'll write short- and long-form pieces, and learn how to give each other constructive and critical feedback in workshop.
W 6-9 PM
Mark Powell
A workshop building on techniques introduced in ENCW 312 intended to help students develop their skills in such fiction techniques as characterization, plot, setting, point of view, and style. Requires credit for ENCW 312 or ENCW 319 and permission of instructor. This course may be repeated.
TBA
Terri Witek
For graduate students who have already completed one course in any studio art (Creative Writing, Art, Digital Art, Theater) and want to further their skills among writers and artists who challenge each other with cross-disciplinary prompts and techniques. We'll work alone and collaboratively, work outside, work ephemerally, and create sustained bodies of new work. For those already working across different media and for those single-genre specialists who'd like to make work using new strategies.
Permission of Instructor