Shannon Scott

Instructor of English
Office
JRC 345
Hours
(Fall 2014) T/R 12:00-1:00pm; also by appointment
Phone
(651) 962-5654

Fall 2014 Courses

Fall 2014 Courses
Course - Section Title Days Time Location
ENGL 203 - 08 Ringmasters: The Circus in Lit - T - R - - - 0955 - 1135 JRC 222
CRN: 42491 4 Credit Hours Instructor: Shannon F. Scott This class explores the many facets of performativity, exhibition, and exploitation in the circus through a series of texts told from multiple perspectives: ringmasters, sideshow acts, animal tamers, and acrobats. The course will move back and forth in time, examining Roman circuses and expectations of entertainment in ancient civilizations as well as Victorian circuses, with an emphasis on female acrobats, and perhaps featuring Sleary's Circus from Charles Dickens's HARD TIMES. Also included will be an examination of Toulouse-Lautrec's depictions of the circuses of Moliere and Fernando and the Nouveau Cirque, as well as excerpts from P.T. Barnum's extraordinary autobiography, THE ART OF GETTING MONEY, OR HINTS AND HELPS TO MAKE A FORTUNE. Contemporary carnivals will be studied in the collection, STEP RIGHT UP: STORIES OF CARNIVALS, SIDESHOWS, AND THE CIRCUS, which feature works by Ray Bradbury, Mark Twain, Angela Carter, Flannery O'Connor, and Franz Kafka. Katherine Dunn's GEEK LOVE will be read in its entirety. Cathy Day's THE CIRCUS IN WINTER, Sara Gruen's WATER FOR ELEPHANTS, and Erin Morgenstern's THE NIGHT CIRCUS are also in consideration as secondary novels. The writing load for this course is a minimum of 15 pages of formal revised writing.

Schedule Details

Location Time Day(s)
ENGL 203 - 11 Ringmasters: The Circus in Lit - T - R - - - 1330 - 1510 OEC 307
CRN: 42488 4 Credit Hours Instructor: Shannon F. Scott This course explores the many facets of performativity, exhibition, and exploitation in the circus through a series of texts told from multiple perspectives: ringmasters, sideshow acts, animal tamers, and acrobats. The course will move back and forth in time, examining Roman circuses and expectations of entertainment in ancient civilizations as well as Victorian circuses, with an emphasis on female acrobats, and perhaps featuring Sleary's Circus from Charles Dickens's HARD TIMES. Also included will be an examination of Toulouse-Lautrec's depictions of the circuses of Moliere and Fernando and the Nouveau Cirque, as well as excerpts from P.T. Barnum's extraordinary autobiography, THE ART OF GETTING MONEY, OR HINTS AND HELPS TO MAKE A FORTUNE. Contemporary carnivals will be studied in the collections, STEP RIGHT UP: STORIES OF CARNIVALS, SIDESHOWS, AND THE CIRCUS, which features works by Ray Bradbury, Mark Twain, Angela Carter, Flannery O'Connor, and Franz Kafka. Katherine Dunn's GEEK LOVE will be read in its entirety. Cathy Day's THE CIRCUS IN WINTER, Sara Gruen's WATER FOR ELEPHANTS, and Erin Morgenstern's THE NIGHT CIRCUS are also in consideration as secondary novels. The writing load for this course is a minimum of 15 pages of formal revised writing.

Schedule Details

Location Time Day(s)

J-Term 2015 Courses

J-Term 2015 Courses
Course - Section Title Days Time Location

Spring 2015 Courses

Spring 2015 Courses
Course - Section Title Days Time Location
ENGL 203 - 08 Noir in Film and Literature M - W - F - - 1215 - 1320
CRN: 22470 4 Credit Hours Instructor: Shannon F. Scott This course explores the genre of noir in both film and literature beginning chronologically in post-World War II America. Historical context includes veterans returning from WWII (often the “heroes” of film noir), women’s changing roles after WWII (the femme fatale and early feminism), the Cold War, McCarthyism, and blacklisting in Hollywood. This background will provide a basis for the inspiration and success of film noir with American audiences. Texts used early in the course are often those adapted into film (James M. Cain’s DOUBLE INDEMNITY and Raymond Chandler’s THE BIG SLEEP). Emphasis in film is placed on the visual techniques used to create the mood/tone of film noir--its gritty subculture. As filmmakers fled Germany and Austria in the 1930s to work in Hollywood, techniques from German expressionist film helped to visually convey feelings of alienation, obsession, and instability fundamental to the genre (for example, Fritz Lang’s THE BIG HEAT, Billy Wilder’s DOUBLE INDEMNITY, and Otto Preminger’s LAURA). The second half of the course will focus on the genre of noir in postmodern literature and film. Cinematic examples of “retro-noir” (CHINATOWN, L.A. CONFIDENTIAL, and DEVIL IN A BLUE DRESS) are studied in conjunction with examples of “neo-noir” (MEMENTO, MULLHOLLAND DRIVE, FARGO, and KISS KISS BANG BANG). Contemporary literary examples of neo-noir, such Jonathan Lethem’s GUN WITH OCCASIONAL MUSIC, Janet Fitch’s "THE METHOD," and Naomi Hirahara's "NUMBER 15" are analyzed to see how noir returns in a a twenty-first century, multicultural lens. The writing load for this course is a minimum of 15 pages of formal revised writing.

Schedule Details

Location Time Day(s)