English 100 [W]
Focuses on rhetorical awareness. In this course, students will explore the reading and writing practices of the academic community. Through primary and secondary research, and through guided writing practice, students will critically examine what these practices mean and consider how students’ own reading and writing practices fit into those of “the Academy.” While additional texts may be assigned, writing produced by students in the class will serve as the principal texts of the course. Additional texts may include Graff & Birkenstein’s TheySay/I Say, Harris’ Rewriting: How to do things with Texts, and Richard Lanham’s Revising Prose. Prerequisite: FYS. Enrollment is restricted to first-year and sophomore students.
Writing enhancement in academic settings. Includes reading and analysis of published essays, practice in research, and production of a research paper. Writing skills are designed to build fundamental skills step by step through exploration of rigorous academic content. Critical thinking skills move from skill building to application of the skills that require critical thinking. This section is open only to students whose first language is not English. Prerequisite(s): First Year Seminar and permission of the instructor.
Professor Kang MW 11:00 – 12:15 a.m.
In this course, students will explore the reading and writing practices of the academic community. Through primary and secondary research, and through guided writing practice, students will critically examine what these practices mean and consider how students’ own reading and writing practices fit into those of “the Academy.” While additional texts will be assigned, writing produced by students in the class will serve as the principal texts for the course. This class will be of particular interest to students who have had limited experience with academic writing. This section is open to all students.
Professor Uzendoski TR 9:30 – 10:45 a.m.
English 119: Literary Women [GM1, H]
This semester, Literary Women will focus on texts—especially works of fiction—that examine the experiences of females living in low-income families and/or communities. We’ll be exploring the psychological as well as physical toll of having limited economic resources and opportunities, and we’ll examine various ways in which girls and women cope with and try to survive or escape poverty and material deprivation. In addition to exploring how systems of power and privilege based on gender and class intersect, we’ll also examine how race and sexual identity further complicate the experience of being poor and female. And of course we’ll be exploring the aesthetic qualities and features of the texts, analyzing how a text’s meanings are produced through the work’s structure, narrative point of view, dialogue, setting, and metaphorical language. Examples of works that might be taught are Sula, Bastard Out of Carolina, My Sister in this House, Rubyfruit Jungle, The Glass Castle, and Drinking Coffee Elsewhere.
Professor Byrd MWF 3:10 p.m. – 4:00 p.m.
English 135: Literature and Human Experience [H, V]
An examination of a significant social or cultural problem as reflected in literary texts. Topics vary from semester to semester and will be announced during the registration period. May be taken more than once with different content.
ENG 135-01: Reading Animals
This course investigates the ways in which non-human animals are situated within literary and cultural discourses. We will seek to understand how various animals are valued and used in our culture, what ideas underlie such distinctions, and how the human/animal relation is represented in literary texts. The course begins with a broad introduction to the ways animals have been theorized within our own (Western) intellectual tradition and then examines representations of the human/animal boundary in twentieth-century and contemporary novels, short stories, and poems.
Professor Rohman TR 11:00 a.m. – 12:15 a.m.
ENG 135-02: Ten Plays You Need to Read Before You Die!
Drama runs the real-life gamut of human interaction and experience (humor, ambition, falling in love, the desire for success, fear of failure) in ways unique in literary study. We watch real people in recognizable human situations, talking, debating, deciding, and figuring stuff out. This course seeks to introduce students to plays that have proven to be substantial, provocative, and illuminating to the degree that they constitute a must read “ten best list.” But precisely because drama seems the closest literary form in its representation of how we live and interact, it makes serious demands on us as an effective mirror that challenges us to look at ourselves closely and examine our values as individuals, family members, neighbors, friends, students, and citizens with a social and political awareness. Playwrights include Shakespeare, Ibsen, Fugard, Greenberg, Herzog, Williams, Chakrabarti.
Professor I. Smith MWF 11:00 a.m. – 11:50 a.m.
English 135-03: The Rise of Individualism
Did modern people “invent” the idea of the self, or does selfhood have a history? This course offers an introduction to English literature from the Middle Ages through the eighteenth century, with a particular focus on how this literature represents subjectivity. We’ll aim to see how different genres—including epic, romance, sonnet, tragedy, and the novel—depict the contours of private experience. And we’ll explore possible connections between the varieties of selfhood represented in these early texts and our own ideas about what it means to be an individual.
Professor Wadiak TR 9:30 – 10:45 p.m.
English 151: Introduction to Creative Writing [W]
An introduction to the fundamentals of creative writing, focusing on strategies for generating, developing, revising, and editing in the genres of poetry, fiction, and creative nonfiction. Through intensive reading, writing, and discussion, students will explore ways to enhance their own creative processes as they identify and seek to duplicate techniques employed by published writers. In turn, students will discover ways to critique the creative work of their peers and to respond with insight to the imaginative writing of a diverse range of writers and poets. Students will complete two portfolios throughout the semester. Prerequisite(s): First Year or Sophomore Standing.
ENG 151-01 Professor Parrish F 1:10 p.m. – 4:00 p.m.
ENG 151-02 Professor Awake M 1:10 p.m. – 4:00 p.m.
English 174: Chicanx Literature
The focus of this course is Mexican American literature and culture. Today, many Mexican Americans chose to identify themselves as “Chicanx.” The word “Chicanx” represents a unique identity in the United States: people who are of Mexican decent or were born in Mexico. In this course, students will study Chicanx literature published since 1900. Reading a variety of texts—including novels, shorts stories, poetry, and memoirs—students will explore American history from the perspective of Mexican American writers. Topics we will discuss include immigration, the civil rights movement, Chicano nationalism, Chicana feminism, the Mexican-American War, and allyship. In our class discussions, we will use an intersectional approach to understand how identity is shaped by factors such as race, gender, sexuality, and class.
A sense of place will guide this survey of Chicanx literature. We will examine how Mexican American writers portray distinct regional and national identities. Each literary text captures a dynamic relationship between community and space. Settings we will consider include East Los Angeles, the Rio Grande Valley in Texas, Latinx neighborhoods in Chicago, Philadelphia, and New York, and the border between the US and Mexico. Authors we will read include Gloria Anzadlúa, Oscar Casares, Ana Castillo, Luís Alberto Urrea, Lorna Dee Cervantes, Jovita González, and Rudolfo Anaya.
Professor Uzendoski TR 2:45 p.m. – 4:00 p.m.
English 202: Writing Seminar [W]
Writing seminars are courses that make writing and language their explicit subject. Examples include seminars in writing genres (memoir and travel writing), in rhetoric and argument, or in the way language and discourse constitute particular cultural constructions (“the animal” or “race”). While each seminar has a specific focus (to be announced in its subtitle), all seminars emphasize the process of academic reading and writing and use student writing as a primary text. Prerequisite: FYS
ENG 202-01: Outbreak
Infection. Detection. Spread. Treatment. Containment.
Whether encountered in literature, film, television, or our daily news, we are all intimately familiar with the major plot points of what Priscilla Wald has called the outbreak narrative. Outbreak narratives provide a familiar structure for understanding overwhelming public health crises. They transform complex biomedical occurrences into mythic struggles between heroic epidemiologists and villainous superspreaders. These myths come to shape how scientists, politicians, and everyday people respond to epidemics. More than anything, outbreak narratives reveal the indivisible relationship between culture and disease. In fact, Wald argues that outbreak narratives are deeply related to anxieties about globalization, social mobility, and purity. As evidenced by both COVID-19’s disproportionate effects on communities of color and the recent amplification of xenophobic rhetoric by powerful social actors, outbreak narratives have real consequences that put real people at risk. In this writing seminar, we will critically examine the outbreak narrative. We will read widely, cataloging the ways that epidemics are talked about in historical, fictional, official, popular, and vernacular texts. We will discuss how epidemics move from being distant threats to overwhelmingly present realities. Historical case studies will allow us to interrogate familiar outbreak tropes and subsequently ask how blame becomes asymmetrically distributed among Othered groups. We will also examine how epidemics change our relationships with the environment and nonhuman animals. By the end of the semester, you will have strengthened your critical reading and writing skills by engaging with diverse outbreak artifacts.
Professor Mitchell TR 2:45 p.m. – 4:00 p.m
ENG 202-02: Writing for the Ear
In an age of ever shifting media platforms, podcasts – stories written for the ear – are becoming more popular than ever. In Writing for the Ear, we’ll focus on writing for broadcast, a more concise and conversational style than writing for print, but with the same emphasis on clarity, authentic voice, and powerful word usage. You will learn to find stories, conduct interviews, write scripts, edit, and produce compelling audio narratives and podcasts. During the semester, you will get the chance to experiment with different writing styles and use sound as a way to enhance the art of storytelling.
Professor Parrish MWF 9:00 a.m. – 9:50 a.m.
ENG 202-03: I’m Nobody! Who Are You?
What if Zen philosophers and contemporary neuroscientists—and Emily Dickinson, quoted in this course’s title—are all right? What if we really are nobody? In this course, we’ll read and write about the question of selfhood from a variety of perspectives, including autobiography, literature, neuroscience, religion, and philosophy. Is the self just a story we tell about who we are? Can it be identified with the “default mode network” of the brain (and, if so, can it be turned off)? Are reported accounts of “boundary-dissolving” (in meditation, psychedelic experience, etc.) any kind of evidence for the self’s non-existence (anattā, in the vocabulary of Buddhism)? Or was the seventeenth-century philosopher René Descartes right all along when he argued that the self is the one thing we cannot do without: the prerequisite of thought itself? It’s often said that writing is a good way to make up your mind. This course will ask you to consider whether that mind is really yours.
Professor Wadiak TR 11:00 a.m. – 12:15 p.m.
English 205: Seminar in Textual Practices [H]
This course provides students with an introduction to the methodologies of English Studies by focusing on three questions: What is a text? How do we read a text? How do we write about a text? By considering rhetorical, imaginative, and critical approaches to the study of texts, students examine their assumptions about reading and writing and develop the skills, vocabulary, and conceptual tools to produce compelling, well-supported arguments about a diverse array of texts. Particular attention will be paid to the ways race, class, gender and sexuality can influence the interrelated processes of reading and writing. Prerequisite: Any introductory English Department course (101-199) or AP credit or approval of instructor.
Professor Byrd Sec. 01 MWF 10:00 a.m. – 10:50 a.m.
Professor Cefalu Sec. 02 TR 11:00 a.m. – 12:15 p.m.
English 206: Literary History [H]
How is literary history constructed? What is the canon of great works and how is it formed? This course enquires into the specific cultural practices that construct literature and engages students in an exploration of canon formation, marginalization, intertextuality, and influence. Readings are chosen from British, American, and Anglophone literatures and from various genres; texts from at least three literary periods are studied in depth. Prerequisite: Any 100 level literature course or AP credit or approval of instructor.
ENG 206-01: Literary History: When In Doubt, Go to the Library
How can we know the history of literature? How do we make sure we have the right texts to read? How do we study authors’ careers, and how does doing say change how we say their writings—and the times in which they lived? Can we get at literary history by looking at readers as well as authors? Emphasizing familiarization with a wide range of library research tools, we will explore these questions through several case studies: the maddening magic of editing literary texts, the often-difficult relationship between authors’ careers and literary periods, and the reading habits of pre-Civil War Easton residents via the Easton Library Company’s records. Field trips and research at the Easton Area Public Library may be required.
Professor Phillips TR 1:15 p.m. – 2:30 p.m.
English 225: Contemporary Fiction [H]
This course focuses on contemporary U.S. fiction. For our purposes, “contemporary” is defined as work written since about 2010, and the course explores what sets such work apart from writing of other times and places. In order to do so, the course examines the nature of emotion (or affect) in the contemporary world, and asks how subjectivity has changed in an age in which many people are obsessively or even narcissistically posting about themselves in social media. How, we will ask, is writing a novel different from other forms of expression available in our technology-saturated environment? Might there be a connection between the social media moment and new kinds of subjectivity? Particular books studied varies by semester, but might include Leanne Shapton, Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris, Mohsin Hamid, The Reluctant Fundamentalist, Ben Lerner, Leaving the Atocha Station, Aimee Bender, The Particular Sadness of Lemon Cake, NoViolet Bulawayo, We Need New Names, Ottessa Moshfegh, My Year of Rest and Relaxation, and Gary Shteyngart, Lake Success. Prerequisite: a 100 level literature course, AP credit, or permission of instructor.
Professor Belletto TR 11:00 a.m. – 12:15 p.m.
English 245: International Literature [H, GM1, GM2]
“International literature” calls for an expansion of the traditional canon of British and American texts that has long been the staple of English studies. Over the last few decades especially, several highly regarded world authors have emerged whose presence has dramatically altered the literary scene. This course introduces us to a variety of these authors who broaden the scope of our literary education and both challenge and enrich our perception of the world. Literature, then, serves as a critical tool enabling us to encounter a changing world that invites us to look beyond the comfort of our usual literary horizons. Prerequisite: Any 100 level literature course.
Professor I. Smith MWF 1:10 p.m. – 2:00 p.m.
English 247: Nature Writing [GM1, H, W]
From the rambles of Thoreau to the patient waiting of Annie Dillard to the activist fervor of Rachel Carson, nature writing has long been some of the most vital literary work in the United States in particular. Even at its most lyrical, nature writing often carries a strong political charge, although what politics looks like in the face of environmental scale and change can often be quite unexpected. Engaging the natural world through language helps us get at the tangled ways in which the social and the natural encounter each other. In recent years, nature writing has begun a redefinition as the whiteness of the “solitary in the wilderness” trope has become more apparent and voices from African-American, Asian-American, Native American, and other communities have given new life to the questions of how we live, and understand that life, on our planet. In this course, we will study a range of writings, from traditional classics to recent interventions, as models for our own written work, focusing on the great virtue of close observation while using that approach to consider small intricacies of natural life as well as the complexes of gender, race, and the human engineering of space—all of which make up our own ecosystems. Field trips required. Prerequisite: FYS
Professor Phillips TR 8:00 a.m.. – 9:45 a.m.
English 250: Writing Genres [W]
Writing Genres introduces students to the expectations and purposes of a particular written genre and offers them intensive practice composing texts that function within the conventions and boundaries of this genre. Students will compose multiple texts in drafts, participate in workshops and discussions, and produce critical analyses and reviews. Prerequisite: FYS.
English 250-01: Writing Genres: Animal Stories
An exploration of contemporary non-fiction writing about animals. Why do humans write about other animals? What are the dominant paradigms for telling animals’ stories? What alternatives exist? To what extent are animal stories really human stories? Students will create and workshop their own, original animal stories.
Professor Falbo TR 1:15 – 2:30
English/FAMS 251: Screenwriting [W]
This course will introduce students to feature film screenwriting. Students will examine various
narrative tools and methods of screenwriting including story structure, character development, use of conflict, scene writing and dialogue. Students will analyze films and their accompanying shooting scripts to discover what works and what is less successful at the script level. These formal investigations will then be applied to students’ own original material in a workshop environment where student scripts will be critiqued. Prerequisite: FYS, FAMS 101 or permission of instructor.
Professor Gilmore W 1:10 p.m. – 4:00 p.m.
English 252: Writing for Television [W]
Professor Awake F 1:10 p.m. – 4:00 p.m.
English 254: Humor Writing [W]
Unleash your inner funny and learn how to write with a side of wit and dollop of snark by studying and dissecting the work of exceptional humor writers and stand-up comedians. You will learn techniques to invigorate and enliven your writing while generating new perspectives through humor. You may even produce some laugh-out-loud or inside-where-it-counts material to employ on dates, family gatherings, or job interviews. Students will compile two humor writing portfolios inclusive but not limited to essays, skits, how-to columns, and stand-up routines. Impromptu exercises, collaborative writing, in-class performances. Prerequisite FYS
Professor Parrish W 1:10 – 4:00 p.m.
English 255: Creative Non-Fiction: Essay is a Verb [W]
“Essay is a verb, not just a noun,” the contemporary essayist John D’Agata notes, “essaying is a process.” This course will focus on the literary genre of the essay, a diverse, dynamic, and ever-changing form. We will examine a wide range of classic and contemporary non-fiction pieces—lyric essays, personal essays, memoir, criticism and “new” journalism as we look to develop our own process and work. Your work will be the primary texts, and reading and critiquing the work of your peers will often contribute to your own revisions. In workshop, we’ll discuss all aspects of storytelling. We’ll look at “what works,” and “what doesn’t work,” but more importantly we’ll investigate why something is not successful on the page. In doing so we’ll look at the tools we have as creative writers: plot, structure, setting, point of view, pace, diction. Writing emerges from writing and these issues of craft we see in the essays we read will help us make our own decisions as writers. How do we come to our material? How do we structure our own experiences? How do we develop a sense of pace and rhythm in our narratives? These are the kinds of questions we will try to answer in our own work.
We will also read published work by a range of writers that could include James Baldwin, Hilton Als, Eula Biss, Tressie McMillan Cottom, Zadie Smith, Joan Didion, Rigoberto Gonzales, Cathy Park Hong and Maggie Nelson to explore those same concerns: what are the complex decisions authors make in constructing their pieces. How do published writers explore their own issues of craft? Prerequisite: Eng. 151, Eng. or permission of instructor.
Professor Gilmore M 1:10 p.m. – 4:00 p.m.
English 256: Fiction Writing Workshop [W]
Prerequisites: English 151 or 256 or permission of the instructor
Professor Awake W 1:10 p.m. – 4:00 p.m.
English 272/273: Internship
English 301: Shakespeare [W, GM1]
Shakespeare worked in a variety of genres, and the course will introduce students to some of the best known of his texts. Often regarded as sitting at the pinnacle of English literary studies, Shakespeare is not an unreachable figure but one whose texts resonate dynamically with issues of a writer embedded in and responsive to his society. Working in the public commercial theater of his time, he was subject to the derision, criticism, and marginalization that accompanied bias and condemnation. What kind of Shakespeare emerges from such a pressure-filled social context: the elite playwright and poet that most students invariably encounter, or a writer and thinker fully committed to the politics of culture? Beyond introducing students to Shakespeare, therefore, the course aims to bring Shakespeare to the twenty-first century student whose education only benefits from understanding Shakespeare’s modernity, that is, the degree to which his works engage us today regarding social and political questions, including race and immigration, gender and identity, sexuality and desire, marriage and heteronormativity. Prerequisite: English 205 or permission of the instructor.
Professor I. Smith MWF 3:10 p.m. – 4:00 p.m.
English 326: Gender, Class and Race in Romantic Poetry [GM1, H, W]
Displaced workers, increasing income inequality, voters’ rights, women’s rights, personal and systemic racism, inequities in the criminal justice system, industrial pollution, restrictions on immigration and civil liberties, a seemingly endless war sparked by a reign of terror…..21st-century Americans are not the first people who have had to address this complex web of social, political, and economic issues. So, too, did people living in Great Britain and its West Indian colonies during what has come to be known as the “Romantic period”—the period between roughly 1780 and 1830. This course will focus on ways in which Romantic era texts—especially poems—weigh in on these issues, reproducing and/or challenging injustices related to gender, class and race. In addition to analytical and creative writing assignments, students will do group presentations on topics that can enrich our understanding of the era and its literature, such as the movement to abolish slavery or the founding of groups like the “Society for Superseding the Necessity of Climbing Boys, by encouraging a new method of sweeping chimneys.” Writers to be studied include S.T. Coleridge, Mary Prince, Olaudah Equiano, Lord Byron, Mary Shelley, Dorothy and William Wordsworth, and a host of important but less well-known writers of the period. Prerequisite: English 205 or permission of the instructor.
Professor Byrd MWF 1:10 p.m. – 2:00 p.m.
English 328: The American Renaissance [W]
The decades before the American Civil War (1840-1860) have long been celebrated as a coming-of-age moment in national literary culture, with works from Moby-Dick to Uncle Tom’s Cabin to Walden and The Scarlet Letter seeing publication. Yet on literary and cultural as well as political fronts, the War and its aftermath involved with a great deal of unfinished business from the years before, from the rights of women and people of color to the various roles of prose and verse writing in a democratic society to the relationship of the local, the national, and the global. The middle third of the nineteenth century US saw remarkable literary output, and much of what we find in that literature illuminates the nation and the people we are today. Anchored by a few “books to think with,” this course makes extensive use of archival materials in print and online to help us explore the wide range of writing from this era and to consider how best to analyze these writings within their own time and ours. Prerequisite: English 205 or permission of the instructor.
Professor Phillips TR 11:00 a.m. – 12:15 p.m.
English 329: The American 1950s [GM1, H, W]
Believe it or not, the 1950s were some of the most exciting years in American literature. Think back to pre-Covid times and the books you might have seen on the “Summer Reading” table at Barnes & Noble: J.D. Salinger’s The Catcher in the Rye, Ray Bradbury’s Fahrenheit 451, Jack Kerouac’s On the Road, Harper Lee’s To Kill a Mockingbird, John Knowles’s A Separate Peace, Ernest Hemingway’s The Old Man and the Sea, Truman Capote’s Breakfast at Tiffany’s—these are all works written during the 1950s that are for many readers still relevant in 2020. In addition to these works, some of the best and most important novels of the twentieth century were published during the 1950s, including Vladimir Nabokov’s Lolita, Ralph Ellison’s Invisible Man, James Baldwin’s Go Tell It On the Mountain, William Gaddis’s The Recognitions, Ann Petry’s The Narrows, and William S. Burroughs’s Naked Lunch. These works have been enormously influential since their publication. In fact, once one begins to look, one sees the influence of a 1950s sensibility not only in literature, but also in popular culture, from the television series Mad Men to the 2015 Oscar-nominated film Carol, based on Patricia Highsmith’s 1952 novel The Price of Salt. In this course, we will explore the 1950s as a fascinating, dynamic decade for American literature and culture. Far from the cartoon, Leave It to Beaver-version of the 1950s in which everyone is a straight, white, Protestant suburbanite, we will use literature as a way to understand the diversity of mid-century America: the 1950s were not only years of Cold War and conformity, but also of a second renaissance in African-American writing, of a flowering of the Beat Generation, and of the cohesion of literatures that could be identified as gay, Asian-American, and Chicano. In order to understand the range and complexity of 1950s literature, we will likely read Salinger’s Raise High the Roof Beam, Carpenters, John Okada’s No-No Boy, Ellison’s Invisible Man, José Antonio Villarreal’s Pocho, Alice Childress’s Trouble in Mind, Tennessee Williams’s Suddenly, Last Summer, Highsmith’s The Price of Salt, Allen Ginsberg’s Howl and Other Poems, Philip Roth’s Goodbye, Columbus, either Nabokov’s Lolita or Pale Fire, as well as poetry of the New York and Confessional schools, and short stories by Flannery O’Connor and others.
Professor Belletto TR 1:15 p.m. – 2:30 p.m.
English 338: Metaphysical Poetry [H, W]
In this course we will study metaphysical poetry. Metaphysical poems are witty, cerebral poems that use elaborate metaphors or “conceits” to comment on a range of elusive, “big topics,” including the nature of love, death, evil, and God. We will consider not only the form, style, and imagery of such poems, but also the historical contexts in which metaphysical poetry emerged in England. To what extent, for example, does the scientific revolution influence the anxious poetry of John Donne? In what manner does the rise of Protestantism help to shape the theocentric poetry of George Herbert, Richard Crashaw, and Thomas Traherne? In answering these questions and others, we will read poetry of the seventeenth century, after which we will compare such foundational seventeenth-century poetry with the later work of Gerard Manley Hopkins, Emily Dickinson, T.S. Eliot, and several contemporary poets. Prerequisite: ENG 205 or permission of the instructor.
Professor Cefalu TR 9:30 a.m. – 10:45 a.m.
English 350: Studies in Writing and Rhetoric: Contemporary Rhetorical Theory [W]
Let’s face it, rhetoric has gotten a bad rap. We tend to use the word to describe vacuous, insincere, and even dangerous speech. We accuse our political opponents of espousing “mere rhetoric” to advance narrow partisan interests. We’re encouraged to move “beyond the rhetoric” to engage in real debate about important issues. Charismatic leaders are defined by their use of “empty rhetoric” to manipulate supporters through appeals to supposedly baser instincts like emotionality, vanity, hatred, and ignorance. In short, rhetoric is often used synonymously with bullshit — language that has a dubious, even nefarious connection to reality. But is this usage accurate?
This seminar course will introduce you to the interdisciplinary commitments of rhetorical theory by focusing on key concepts, questions, theorists, and intellectual traditions. Contemporary rhetorical scholarship has moved beyond considering only linguistic and textual techniques of persuasion to interrogate issues of power, agency, citizenship, embodiment, (post)humanism, and materiality. We will study it to help us reckon with political and social crises including, but not limited to, racism, state and vigilante violence, mass death, migrant detention, deliberative democracy, dehumanization, and demagoguery. The most important objective for this course is to provide you with space to hone a sophisticated approach to reading and writing about theory. Prerequisite: English 205 or permission of the instructor.
Professor Mitchell TR 11:00 a.m. – 12:15 p.m.
English 272/273: Internship
English 351: Environmental Writing [W]
This is a critical workshop course focused on personal, journalistic, and creative writing about the environment. We will examine questions about the natural world from a variety of perspectives: personal, scientific, socio-political, and anthropological. Students will be encouraged to think broadly about environmental issues, as we ask: what can animals teach about humans? How does our discourse around species reveal an anxiety about mutation? How do environmental issues intersect with matters of class, race, and gender? What role does technology play in our interactions with the natural world? How do disasters reveal our structural vulnerabilities? Students will be expected to write twenty pages of revised material. Prerequisite: English 205 or permission of the instructor.
Professor Fernandes TR 11:00 a.m. – 12:15 p.m.
English 361: Advanced Writing: Poetry [W]
In this course, you will strengthen your close reading and workshop skills, produce a polished chapbook of poems, experiment with different writing prompts, and analyze two collections of contemporary poetry. In Advanced Poetry, we will spend time developing sonic and rhythmic technical skills such as meter, enjambment, caesura, assonance, etc. We will also discuss how poetry intersects with critical political and social movements around race, gender, and sexuality. Prerequisite: English 205 or permission of the instructor.
Professor Fernandes T 1:10 p.m. – 4:00 p.m.
English 365: Seminar in Literary Criticism [W]
An advanced introduction to the history of literary criticism and its dominant theoretical practices. Students read representative texts from various schools of criticism– formalism, Marxism, psychoanalysis, gender studies, critical race theory, cultural studies, posthumanism– and consider them in relation to several literary and cultural works. Especially recommended for students seeking honors in English or considering graduate study in literature. Prerequisite: ENG 206 and 206, or permission of instructor. Prerequisite: English 205 or permission of the instructor.
Professor Rohman TR 9:30 a.m. – 10:45 a.m.
ENG 391 Independent Study
ENG 495 Thesis