4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

Students will read and write about literary texts critically and closely. The course emphasizes recursive reading and writing processes that encourage students to discover, explain, question and clarify ideas. To this end, students will study a variety of genres as well as terms and concepts helpful to close analysis of those genres. They will practice various forms of writing for specific audiences and purposes. Students will reflect on and develop critical awareness of their own strengths and weaknesses as readers and writers. The writing load for this course is a minimum of 12 pages of formal revised writing.

4 Credit Hours

This section is reserved for English as a Second Language students only.

4 Credit Hours

This section is reserved for English as a Second Language students only.

4 Credit Hours

Travel writing has a long history. It was one of the most popular genres during the eighteenth and nineteenth centuries, when people found it much harder than today to get around (passengers on sailing vessels usually made out their wills before they left!). Yet it remains a steady crowd-pleaser even now because it reminds us that the world is a place full of wonders and that life can be enriched by the experience of other cultures and climes. There is a dark side to travel too, though, as economies that depend on tourism sometimes create hardship for the people who actually live in those countries. This course hopes to examine both the bright side and dark sides of travel. Readings may include excerpts from early travel writing and letters, E.M. Forster's A ROOM WITH A VIEW (Italy), Willy Russell's SHIRLEY VALENTINE (Greece), Frances Mayes's UNDER A TUSCAN SUN (Italy), David Hwang's M. BUTTERFLY (China), and Jamaica Kincaid's A SMALL PLACE (Antigua). The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Travel writing has a long history. It was one of the most popular genres during the eighteenth and nineteenth centuries, when people found it much harder than today to get around (passengers on sailing vessels usually made out their wills before they left!). Yet it remains a steady crowd-pleaser even now because it reminds us that the world is a place full of wonders and that life can be enriched by the experience of other cultures and climes. There is a dark side to travel too, though, as economies that depend on tourism sometimes create hardship for the people who actually live in those countries. This course hopes to examine both the bright side and dark sides of travel. Readings may include excerpts from early travel writing and letters, E.M. Forster's A ROOM WITH A VIEW (Italy), Willy Russell's SHIRLEY VALENTINE (Greece), Frances Mayes's UNDER A TUSCAN SUN (Italy), David Hwang's M. BUTTERFLY (China), and Jamaica Kincaid's A SMALL PLACE (Antigua). The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Even in the land of Super Targets and Big Mac hamburgers, bigger is not always better--at least not in terms of literature. Short stories, because of their compression and intensity, offer lively plots and constant surprises. To the delight of readers everywhere, American authors provide a wellspring of tales that uncover our past, define our present, and peep into our future. As we study the artistic development of the American short story, our process of discovery will be progressive, beginning with some of this country's earliest and most influential short story writers like Irving and Poe and closing with such masters of contemporary fiction as Alice Walker and Jill McCorkle. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Even in the land of Super Targets and Big Mac hamburgers, bigger is not always better--at least not in terms of literature. Short stories, because of their compression and intensity, offer lively plots and constant surprises. To the delight of readers everywhere, American authors provide a wellspring of tales that uncover our past, define our present, and peep into our future. As we study the artistic development of the American short story, our process of discovery will be progressive, beginning with some of this country's earliest and most influential short story writers like Irving and Poe and closing with such masters of contemporary fiction as Alice Walker and Jill McCorkle. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course explores urban experience through the perspectives of writers working in fiction, creative nonfiction, and poetry. It will focus on the way writers in those three genres use language and literary devices to address the life and landscape of the city. Although most of the writing done in this class will be analytical, we will also look at each of the three genres from a user's perspective, using some of the tools of fiction, creative nonfiction, and poetry to make our own sense of the urban environment. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course explores urban experience through the perspectives of writers working in fiction, creative nonfiction, and poetry. It will focus on the way writers in those three genres use language and literary devices to address the life and landscape of the city. Although most of the writing done in this class will be analytical, we will also look at each of the three genres from a user's perspective, using some of the tools of fiction, creative nonfiction, and poetry to make our own sense of the urban environment. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Even in the land of Super Targets and Big Mac hamburgers, bigger is not always better--at least not in terms of literature. Short stories, because of their compression and intensity, offer lively plots and constant surprises. To the delight of readers everywhere, American authors provide a wellspring of tales that uncover our past, define our present, and peep into our future. As we study the artistic development of the American short story, our process of discovery will be progressive, beginning with some of this country's earliest and most influential short story writers like Irving and Poe and closing with such masters of contemporary fiction as Alice Walker and Jill McCorkle. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Even in the land of Super Targets and Big Mac hamburgers, bigger is not always better--at least not in terms of literature. Short stories, because of their compression and intensity, offer lively plots and constant surprises. To the delight of readers everywhere, American authors provide a wellspring of tales that uncover our past, define our present, and peep into our future. As we study the artistic development of the American short story, our process of discovery will be progressive, beginning with some of this country's earliest and most influential short story writers like Irving and Poe and closing with such masters of contemporary fiction as Alice Walker and Jill McCorkle. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Vampires, ghosts, murders, madness, living portraits, dungeons, secret passageways, forbidden romance, and hysteria! The sensationalism of the Gothic novel has made it one of the most popular--and controversial--genres in literary history. This course will trace the development and transformation of Gothic fiction from the founding of the genre to the present day. Following current scholarship, we will pose questions about belief in the supernatural, representations of violence, the significance of fantasy and fear, and the role of gender, race, and class in the literature of terror. Novels will be supplemented with a selection of cultural materials, including film and the visual arts. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Vampires, ghosts, murders, madness, living portraits, dungeons, secret passageways, forbidden romance, and hysteria! The sensationalism of the Gothic novel has made it one of the most popular--and controversial--genres in literary history. This course will trace the development and transformation of Gothic fiction from the founding of the genre to the present day. Following current scholarship, we will pose questions about belief in the supernatural, representations of violence, the significance of fantasy and fear, and the role of gender, race, and class in the literature of terror. Novels will be supplemented with a selection of cultural materials, including film and the visual arts. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Metaphors like Emily Dickinson's "'Hope' is the thing with feathers," or Shakespeare's "All the world's a stage" stay with us. Far from the merely decorative literary conception many people believe it to be, metaphor--saying one thing in terms of another--is part of the very fabric of our thought, a powerful aspect of our neurological functioning and intellectual capacities. It underpins literary and popular culture alike, and understanding metaphor's role in language is intimately tied to understanding how it informs and transforms perception, shapes learning, and arouses pleasures. In this course, we'll read James Geary's I IS AN OTHER: THE SECRET LIFE OF METAPHOR AND HOW IT SHAPES THE WAY WE SEE THE WORLD as a guide to the history and functions of metaphor across a variety of disciplines and apply what we learn there to a selection of texts in poetry, fiction, and nonfiction by writers celebrated for their capacity to make memorable metaphors, including Emily Dickinson, C.S. Lewis, Larry Levis, Lorrie Moore, Sylvia Plath, Mark Doty, and Shakespeare. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Metaphors like Emily Dickinson's "'Hope' is the thing with feathers," or Shakespeare's "All the world's a stage" stay with us. Far from the merely decorative literary conception many people believe it to be, metaphor--saying one thing in terms of another--is part of the very fabric of our thought, a powerful aspect of our neurological functioning and intellectual capacities. It underpins literary and popular culture alike, and understanding metaphor's role in language is intimately tied to understanding how it informs and transforms perception, shapes learning, and arouses pleasures. In this course, we'll read James Geary's I IS AN OTHER: THE SECRET LIFE OF METAPHOR AND HOW IT SHAPES THE WAY WE SEE THE WORLD as a guide to the history and functions of metaphor across a variety of disciplines and apply what we learn there to a selection of texts in poetry, fiction, and nonfiction by writers celebrated for their capacity to make memorable metaphors, including Emily Dickinson, C.S. Lewis, Larry Levis, Lorrie Moore, Sylvia Plath, Mark Doty, and Shakespeare. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What happens to literature when it no longer looks like literature? What happens when literature inhabits strange new forms: a story told as a PowerPoint presentation, for example, or a Choose Your Own Adventure tale, or an interactive web page, or a video game? What happens when you create literature using collage, erasures, or even random chance? In this course, we will read work that resists traditional storytelling by challenging conventions of plot, point of view, realism, language, and form. The central question of this course will be: "What can an author achieve through 'radical storytelling' that cannot be achieved through more traditional means?" In order to answer that question, we will read from both established and up-and-coming authors, works that are canonical as well as works recently published in small literary journals or self-published on the web. The hope for the class is to engage in fruitful discussions about literary experimentation that inspire students to create their own innovative work. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What happens to literature when it no longer looks like literature? What happens when literature inhabits strange new forms: a story told as a PowerPoint presentation, for example, or a Choose Your Own Adventure tale, or an interactive web page, or a video game? What happens when you create literature using collage, erasures, or even random chance? In this course, we will read work that resists traditional storytelling by challenging conventions of plot, point of view, realism, language, and form. The central question of this course will be: "What can an author achieve through 'radical storytelling' that cannot be achieved through more traditional means?" In order to answer that question, we will read from both established and up-and-coming authors, works that are canonical as well as works recently published in small literary journals or self-published on the web. The hope for the class is to engage in fruitful discussions about literary experimentation that inspire students to create their own innovative work. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What happens to literature when it no longer looks like literature? What happens when literature inhabits strange new forms: a story told as a PowerPoint presentation, for example, or a Choose Your Own Adventure tale, or an interactive web page, or a video game? What happens when you create literature using collage, erasures, or even random chance? In this course, we will read work that resists traditional storytelling by challenging conventions of plot, point of view, realism, language, and form. The central question of this course will be: "What can an author achieve through 'radical storytelling' that cannot be achieved through more traditional means?" In order to answer this question, we will read from both established and up-and-coming authors, works that are canonical as well as works recently published in small literary journals or self-published on the web. The hope is for the class to engage in fruitful discussion about literary experimentation that inspire students to create their own innovative work. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What happens to literature when it no longer looks like literature? What happens when literature inhabits strange new forms: a story told as a PowerPoint presentation, for example, or a Choose Your Own Adventure tale, or an interactive web page, or a video game? What happens when you create literature using collage, erasures, or even random chance? In this course, we will read work that resists traditional storytelling by challenging conventions of plot, point of view, realism, language, and form. The central question of this course will be: "What can an author achieve through 'radical storytelling' that cannot be achieved through more traditional means?" In order to answer this question, we will read from both established and up-and-coming authors, works that are canonical as well as works recently published in small literary journals or self-published on the web. The hope is for the class to engage in fruitful discussion about literary experimentation that inspire students to create their own innovative work. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Writers at Work will examine fiction, nonfiction, drama, and poetry from the point of view of both writer and audience, artist and critic. We will read contemporary literature in each genre, as well as some secondary materials written whenever possible by those same authors. For example, we might read: David Mamet's play GLENGARRY, GLEN ROSS and then his craft book ON DIRECTING FILM; Charles Baxter's novel THE FEAST OF LOVE and then his craft book THE ART OF SUBTEXT; Richard Hugo's poetry as well as his craft book THE TRIGGERING TOWN; Annie Dillard and Jo Anne Beard's essays paired with Sven Birkerts' THE ART OF TIME IN MEMOIR; and then various readings paired with THE WRITERS' NOTEBOOK: CRAFT ESSAYS FROM TIN HOUSE. Everyone will both write in and about each genre. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Writers at Work will examine fiction, nonfiction, drama, and poetry from the point of view of both writer and audience, artist and critic. We will read contemporary literature in each genre, as well as some secondary materials written whenever possible by those same authors. For example, we might read: David Mamet's play GLENGARRY, GLEN ROSS and then his craft book ON DIRECTING FILM; Charles Baxter's novel THE FEAST OF LOVE and then his craft book THE ART OF SUBTEXT; Richard Hugo's poetry as well as his craft book THE TRIGGERING TOWN; Annie Dillard and Jo Anne Beard's essays paired with Sven Birkerts' THE ART OF TIME IN MEMOIR; and then various readings paired with THE WRITERS' NOTEBOOK: CRAFT ESSAYS FROM TIN HOUSE. Everyone will both write in and about each genre. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

There is perhaps no professional field more deeply rooted and engaged in every facet of what it means to be human--physically, emotionally, philosophically, spiritually--than health care. This course seeks to connect the worlds of the health sciences and the humanities by examining literature through the lens of health care (and vice versa) from a variety of different perspectives: patients, different providers, policymakers, corporations, and cultures, to name a few. If you're thinking about a career in health care, if you're generally interested in medicine, if you're curious about the intersection between mind, body, and culture--this course is for you. In addition to examining the theme of patient empathy, we'll discuss the unique professional and ethical challenges that health care providers face and explore a variety of global and domestic health care issues, focusing on all genres of literature. Likely offerings will include BETTER by Atul Gawande, WHAT PATIENTS TAUGHT ME by Audrey Young, THE PLAGUE by Albert Camus, THE SPIRIT CATCHES YOU AND YOU FALL DOWN by Anne Fadiman, NURSES AT THE FRONT by Margaret Higonnet, and more. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

There is perhaps no professional field more deeply rooted and engaged in every facet of what it means to be human--physically, emotionally, philosophically, spiritually--than health care. This course seeks to connect the worlds of the health sciences and the humanities by examining literature through the lens of health care (and vice versa) from a variety of different perspectives: patients, different providers, policymakers, corporations, and cultures, to name a few. If you're thinking about a career in health care, if you're generally interested in medicine, if you're curious about the intersection between mind, body, and culture--this course is for you. In addition to examining the theme of patient empathy, we'll discuss the unique professional and ethical challenges that health care providers face and explore a variety of global and domestic health care issues, focusing on all genres of literature. Likely offerings will include BETTER by Atul Gawande, WHAT PATIENTS TAUGHT ME by Audrey Young, THE PLAGUE by Albert Camus, THE SPIRIT CATCHES YOU AND YOU FALL DOWN by Anne Fadiman, NURSES AT THE FRONT by Margaret Higonnet, and more. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

In this class we will explore the intersection of folklore, an oral communication form, and literature, a written one. Since folklore encompasses everything from legends, jokes, traditional music, fairy tales, and marchen to belief, customs, and material culture, it would be folly to imagine literary production has not been influenced by it. We'll examine the myriad ways authors use folk genres, motifs, and culture in their work. This will mean reading about the fantastical and quotidian--but always the human. Authors may include Neil Gaiman, Martin McDonagh, Toni Morrison, T.S. Eliot, Louise Erdrich, Charles Chesnutt, Kristin Naca, and others. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

In this class we will explore the intersection of folklore, an oral communication form, and literature, a written one. Since folklore encompasses everything from legends, jokes, traditional music, fairy tales, and marchen to belief, customs, and material culture, it would be folly to imagine literary production has not been influenced by it. We'll examine the myriad ways authors use folk genres, motifs, and culture in their work. This will mean reading about the fantastical and quotidian--but always the human. Authors may include Neil Gaiman, Martin McDonagh, Toni Morrison, T.S. Eliot, Louise Erdrich, Charles Chesnutt, Kristin Naca, and others. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

In this class we will explore the intersection of folklore, an oral communication form, and literature, a written one. Since folklore encompasses everything from legends, jokes, traditional music, fairy tales, and marchen to belief, customs, and material culture, it would be folly to imagine literary production has not been influenced by it. We'll examine the myriad ways authors use folk genres, motifs, and culture in their work. This will mean reading about the fantastical and quotidian--but always the human. Authors may include Neil Gaiman, Martin McDonagh, Toni Morrison, T.S. Eliot, Louise Erdrich, Charles Chesnutt, Kristin Naca, and others. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

In this class we will explore the intersection of folklore, an oral communication form, and literature, a written one. Since folklore encompasses everything from legends, jokes, traditional music, fairy tales, and marchen to belief, customs, and material culture, it would be folly to imagine literary production has not been influenced by it. We'll examine the myriad ways authors use folk genres, motifs, and culture in their work. This will mean reading about the fantastical and quotidian--but always the human. Authors may include Neil Gaiman, Martin McDonagh, Toni Morrison, T.S. Eliot, Louise Erdrich, Charles Chesnutt, Kristin Naca, and others. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course will examine literary texts which feature the connection between the world of business and the social world. Work has always been an integral part of American culture, and individuals often identify themselves with the work that they do. Students will closely read a handful of texts (Willa Cather's A LOST LADY; THE NARRATIVE OF THE LIFE OF FREDRICK DOUGLASS, AN AMERICAN SLAVE: WRITTEN BY HIMSELF; Christopher Buckley's THANK YOU FOR SMOKING, David Mamet's GLENGARRY GLEN ROSS; and Bethany McLean's THE SMARTEST GUYS IN THE ROOM) to explore how the shifting perceptions of the world of business from pre-Civil War America to the recent dot.com boom and bust effected perceptions of work, identity, gender, race, class, and ethnicity. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course will examine literary texts which feature the connection between the world of business and the social world. Work has always been an integral part of American culture, and individuals often identify themselves with the work that they do. Students will closely read a handful of texts (Willa Cather's A LOST LADY; THE NARRATIVE OF THE LIFE OF FREDRICK DOUGLASS, AN AMERICAN SLAVE: WRITTEN BY HIMSELF; Christopher Buckley's THANK YOU FOR SMOKING, David Mamet's GLENGARRY GLEN ROSS; and Bethany McLean's THE SMARTEST GUYS IN THE ROOM) to explore how the shifting perceptions of the world of business from pre-Civil War America to the recent dot.com boom and bust effected perceptions of work, identity, gender, race, class, and ethnicity. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

"I want a History of Looking," wrote theorist and philosopher Roland Barthes in 1980. We will engage Barthes' challenge in this course by constructing our own History of Looking. From celebrity culture in the 1890's to today's social media, we'll explore the rich intersections between image and text across the twentieth century. As a class, we will practice close-reading both images and literary texts, collaboratively developing a set of analytical strategies and practices along the way. Our reading will begin with a brief survey of critical and theoretical writings by Susan Sontag, John Berger, and others. Working from this critical framework, we will apply certain key terms and concepts--from ekphrasis to punctum--to literature by such writers as Oscar Wilde, Evelyn Waugh, and Don DeLillo. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

"I want a History of Looking," wrote theorist and philosopher Roland Barthes in 1980. We will engage Barthes' challenge in this course by constructing our own History of Looking. From celebrity culture in the 1890's to today's social media, we'll explore the rich intersections between image and text across the twentieth century. As a class, we will practice close-reading both images and literary texts, collaboratively developing a set of analytical strategies and practices along the way. Our reading will begin with a brief survey of critical and theoretical writings by Susan Sontag, John Berger, and others. Working from this critical framework, we will apply certain key terms and concepts--from ekphrasis to punctum--to literature by such writers as Oscar Wilde, Evelyn Waugh, and Don DeLillo. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

In the introduction to a recent collection of spiritual writing, Billy Collins, former U.S. Poet Laureate, writes: "I came to sense that a spiritual realm could be accessed, not through the recommended roads of religion leading to portals guarded by priests, rabbis, imams, and religious leaders of other stripes, but instead, directly through actual daily experience." In this class, we will read works from a variety of faith traditions, using selections from either the Best Spiritual Writing series published yearly by Penguin Books or works from the Best American Spiritual Writing series put out annually by Mariner Books. Our goal will be to examine works by 21st century authors who explore the mysteries of the soul and the soul's relationship with the universe, as well as how these works reflect the spiritual discipline of the writers. Note: this course will have a Service Learning component. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

In the introduction to a recent collection of spiritual writing, Billy Collins, former U.S. Poet Laureate, writes: "I came to sense that a spiritual realm could be accessed, not through the recommended roads of religion leading to portals guarded by priests, rabbis, imams, and religious leaders of other stripes, but instead, directly through actual daily experience." In this class, we will read works from a variety of faith traditions, using selections from either the Best Spiritual Writing series published yearly by Penguin Books or works from the Best American Spiritual Writing series put out annually by Mariner Books. Our goal will be to examine works by 21st century authors who explore the mysteries of the soul and the soul's relationship with the universe, as well as how these works reflect the spiritual discipline of the writers. Note: this course will have a Service Learning component. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course will explore the interconnections between music and literature. By examining selected literary works (novel, drama, memoir, poetry) in the framework of music and by examining musical pieces (blues, folk, rock) in the framework of literature, interconnections between the two fields increase understanding and appreciation of both disciplines. This course will emphasize the power of music to capture imagination, meet challenges, inspire quests, and celebrate life through endurance, rage, protest, and love. Connections to the work of popular songwriters--including Bob Dylan, Leonard Cohen, Bruce Springsteen, and Michael Jackson--will also be made. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course will explore the interconnections between music and literature. By examining selected literary works (novel, drama, memoir, poetry) in the framework of music and by examining musical pieces (blues, folk, rock) in the framework of literature, interconnections between the two fields increase understanding and appreciation of both disciplines. This course will emphasize the power of music to capture imagination, meet challenges, inspire quests, and celebrate life through endurance, rage, protest, and love. Connections to the work of popular songwriters--including Bob Dylan, Leonard Cohen, Bruce Springsteen, and Michael Jackson--will also be made. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Since the days of Leonardo da Vinci, writers of natural history have straddled science and literature in their attempts to understand the world. In this class, we'll read and analyze the works of great naturalists and incorporate some of their strategies--empirical observation, reporting, academic research, memoir--into our own writing. Authors will include Italian biologist Francesco Redi, French naturalist Jean-Henri Fabre, U.S. poet Robert Frost, and others. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Since the days of Leonardo da Vinci, writers of natural history have straddled science and literature in their attempts to understand the world. In this class, we'll read and analyze the works of great naturalists and incorporate some of their strategies--empirical observation, reporting, academic research, memoir--into our own writing. Authors will include Italian biologist Francesco Redi, French naturalist Jean-Henri Fabre, U.S. poet Robert Frost, and others. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

As the popular TV show DESPERATE HOUSEWIVES recently wrapped up its final season, and as reality television's REAL HOUSEWIVES franchise stakes its claim on more and more locations, the housewife phenomenon provokes some substantive questions about where housewives fit into our "post-feminist world." Is a housewife a symbol of social status, privilege and perfection? Do women still aspire towards a domestic ideal? Is it realistic or obtainable? Does our current notion of "housewife" challenge our perception of motherhood, marriage, and social conventions? Is it still a gender exclusive term? And what makes them so desperate? This course seeks to examine some of literature's "desperate housewives" (complicated female characters in domestic settings) and asks why they respond to their circumstances in the manner they do. We will explore why so many depictions of housewives are indeed profoundly desperate--deeply troubled by boredom, isolation, infidelity, and emptiness--and examine the literary construction of "housewife" in and among various works. Possible texts may include Gustave Flaubert's MADAME BOVARY, Henrik Ibsen's HEDDA GABLER and/or A DOLL'S HOUSE, Jane Austen's NORTHANGER ABBEY, Kate Chopin's THE AWAKENING, Nella Larsen's PASSING, and F. Scott Fitzgerald's THE GREAT GATSBY. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

As the popular TV show DESPERATE HOUSEWIVES recently wrapped up its final season, and as reality television's REAL HOUSEWIVES franchise stakes its claim on more and more locations, the housewife phenomenon provokes some substantive questions about where housewives fit into our "post-feminist world." Is a housewife a symbol of social status, privilege and perfection? Do women still aspire towards a domestic ideal? Is it realistic or obtainable? Does our current notion of "housewife" challenge our perception of motherhood, marriage, and social conventions? Is it still a gender exclusive term? And what makes them so desperate? This course seeks to examine some of literature's "desperate housewives" (complicated female characters in domestic settings) and asks why they respond to their circumstances in the manner they do. We will explore why so many depictions of housewives are indeed profoundly desperate--deeply troubled by boredom, isolation, infidelity, and emptiness--and examine the literary construction of "housewife" in and among various works. Possible texts may include Gustave Flaubert's MADAME BOVARY, Henrik Ibsen's HEDDA GABLER and/or A DOLL'S HOUSE, Jane Austen's NORTHANGER ABBEY, Kate Chopin's THE AWAKENING, Nella Larsen's PASSING, and F. Scott Fitzgerald's THE GREAT GATSBY. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This class will examine three American road-works-- Krakauer's INTO THE WILD, Pirsig's ZEN AND THE ART OF MOTORCYCLE MAINTENANCE, and Kerouac's ON THE ROAD--by and through which we will examine two fundamental questions, together the sine qua non of Existentialism: 1) What makes for a meaningful, authentic life?; and 2) What does it mean to be a human being? Though this course will be structured around the three primary works listed above, it will also reach beyond the time and space of the U.S. to investigate the historical and cultural context of Existential literature. Additional works may include Victor Frankl's MAN'S SEARCH FOR MEANING; essays and short stories by Jean-Paul Sartre, Simone de Beauvoir, and Albert Camus; Ellison's INVISIBLE MAN or Faulkner's AS I LAY DYING or Horace McCoy's THEY SHOOT HORSES, DON'T THEY? or Alexander Maksik's YOU DESERVE NOTHING; Herman Melville; Samuel Beckett; HAMLET; or THE BOOK OF JOB. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This class will examine three American road-works-- Krakauer's INTO THE WILD, Pirsig's ZEN AND THE ART OF MOTORCYCLE MAINTENANCE, and Kerouac's ON THE ROAD--by and through which we will examine two fundamental questions, together the sine qua non of Existentialism: 1) What makes for a meaningful, authentic life?; and 2) What does it mean to be a human being? Though this course will be structured around the three primary works listed above, it will also reach beyond the time and space of the U.S. to investigate the historical and cultural context of Existential literature. Additional works may include Victor Frankl's MAN'S SEARCH FOR MEANING; essays and short stories by Jean-Paul Sartre, Simone de Beauvoir, and Albert Camus; Ellison's INVISIBLE MAN or Faulkner's AS I LAY DYING or Horace McCoy's THEY SHOOT HORSES, DON'T THEY? or Alexander Maksik's YOU DESERVE NOTHING; Herman Melville; Samuel Beckett; HAMLET; or THE BOOK OF JOB. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

"We are young and we are powerful with our youth," claim the new generation of world citizens. How does youth spread its faith in living the truth and changing the lives of the oppressed? How did the youth of the world connect in the Middle East to free themselves from tyranny? This class will look closely at the clarity and energy that young people possess. Reading and writing about contrasting texts like THE ROOFTOPS OF TEHRAN by Mahbod Seraji and DOWN THE NILE by Rosemary Mahoney will prove fertile ground for discussion about what an Iranian youth does and what an American traveler sees. Other texts including fiction, nonfiction, and the poetry of Middle East writers (Egyptian and others) and American writers will be examined in depth in this course. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

"We are young and we are powerful with our youth," claim the new generation of world citizens. How does youth spread its faith in living the truth and changing the lives of the oppressed? How did the youth of the world connect in the Middle East to free themselves from tyranny? This class will look closely at the clarity and energy that young people possess. Reading and writing about contrasting texts like THE ROOFTOPS OF TEHRAN by Mahbod Seraji and DOWN THE NILE by Rosemary Mahoney will prove fertile ground for discussion about what an Iranian youth does and what an American traveler sees. Other texts including fiction, nonfiction, and the poetry of Middle East writers (Egyptian and others) and American writers will be examined in depth in this course. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What makes fairy tales, folktales, and myths so appealing? Is it the deep structure of their story lines: quests that require leaving home, battles with monsters, moments of creation? Is it the questions they answer: what are good and right choices, how do I fit in this world, how do I learn whom to trust and to love? Is it related to the manner of their telling: their intention to be heard rather than read, their appeal to the imagination, their ability to evoke visceral responses? In this class, we will study versions of a number of narratives, ranging from classics such as Homer's ODYSSEY and SIR GAWAIN AND THE GREEN KNIGHT, to magical tales such as Snow White that are ostensibly for children but continue to appeal to adult movie goers. We will also study several theoretical answers to the above questions in order to develop a common vocabulary and conceptual framework for our discussion. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What makes fairy tales, folktales, and myths so appealing? Is it the deep structure of their story lines: quests that require leaving home, battles with monsters, moments of creation? Is it the questions they answer: what are good and right choices, how do I fit in this world, how do I learn whom to trust and to love? Is it related to the manner of their telling: their intention to be heard rather than read, their appeal to the imagination, their ability to evoke visceral responses? In this class, we will study versions of a number of narratives, ranging from classics such as Homer's ODYSSEY and SIR GAWAIN AND THE GREEN KNIGHT, to magical tales such as Snow White that are ostensibly for children but continue to appeal to adult movie goers. We will also study several theoretical answers to the above questions in order to develop a common vocabulary and conceptual framework for our discussion. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What is any sports event, but a story--multiple stories--playing out before our eyes? Sports by definition involve conflict and drama: man versus man; man versus himself; man versus nature; and if we believe it possible, man versus the supernatural. It's no accident that some of our greatest metaphors come from the arena of athletics. Through sports we have a way to look at the values of America--at the best we have to offer, and the worst. In this class, we will read, enjoy, and analyze short stories, articles, drama, poetry, novels, essays, and participant journalism. Potential texts may include the following: FRIDAY NIGHT LIGHTS by H.G. Bissinger; A WHOLE OTHER BALL GAME: WOMEN'S LITERATURE ON WOMEN'S SPORT by Joli Sandoz (Editor); THE RIVER WHY by David James Duncan; and THE PERFECT MILE by Neal Bascomb. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What is any sports event, but a story--multiple stories--playing out before our eyes? Sports by definition involve conflict and drama: man versus man; man versus himself; man versus nature; and if we believe it possible, man versus the supernatural. It's no accident that some of our greatest metaphors come from the arena of athletics. Through sports we have a way to look at the values of America--at the best we have to offer, and the worst. In this class, we will read, enjoy, and analyze short stories, articles, drama, poetry, novels, essays, and participant journalism. Potential texts may include the following: FRIDAY NIGHT LIGHTS by H.G. Bissinger; A WHOLE OTHER BALL GAME: WOMEN'S LITERATURE ON WOMEN'S SPORT by Joli Sandoz (Editor); THE RIVER WHY by David James Duncan; and THE PERFECT MILE by Neal Bascomb. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What makes fairy tales, folktales, and myths so appealing? Is it the deep structure of their story lines: quests that require leaving home, battles with monsters, moments of creation? Is it the questions they answer: what are good and right choices, how do I fit in this world, how do I learn whom to trust and to love? Is it related to the manner of their telling: their intention to be heard rather than read, their appeal to the imagination, their ability to evoke visceral responses? In this class, we will study versions of a number of narratives, ranging from classics such as Homer's ODYSSEY and SIR GAWAIN AND THE GREEN KNIGHT, to magical tales such as Snow White that are ostensibly for children but continue to appeal to adult movie goers. We will study several theoretical answers to the above questions in order to develop a common vocabulary and conceptual framework for our discussions. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What makes fairy tales, folktales, and myths so appealing? Is it the deep structure of their story lines: quests that require leaving home, battles with monsters, moments of creation? Is it the questions they answer: what are good and right choices, how do I fit in this world, how do I learn whom to trust and to love? Is it related to the manner of their telling: their intention to be heard rather than read, their appeal to the imagination, their ability to evoke visceral responses? In this class, we will study versions of a number of narratives, ranging from classics such as Homer's ODYSSEY and SIR GAWAIN AND THE GREEN KNIGHT, to magical tales such as Snow White that are ostensibly for children but continue to appeal to adult movie goers. We will study several theoretical answers to the above questions in order to develop a common vocabulary and conceptual framework for our discussions. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course will explore 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. Moving back and forth in time, we'll examine Roman circuses and expectations of entertainment in ancient civilizations as well as Victorian circuses, with an emphasis on female acrobats; we'll also possibly feature Sleary's Circus from Charles Dickens's HARD TIMES. Also included will be an examination of Toulouse-Lautrec's depictions of the circuses of Molier 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 using the collection, 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. Other possible texts that may be used include Katherine Dunn's GEEK LOVE, Cathy Day's THE CIRCUS IN WINTER, Sara Gruen's WATER FOR ELEPHANTS, and Erin Morgenstern's THE NIGHT CIRCUS. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course will explore 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. Moving back and forth in time, we'll examine Roman circuses and expectations of entertainment in ancient civilizations as well as Victorian circuses, with an emphasis on female acrobats; we'll also possibly feature Sleary's Circus from Charles Dickens's HARD TIMES. Also included will be an examination of Toulouse-Lautrec's depictions of the circuses of Molier 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 using the collection, 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. Other possible texts that may be used include Katherine Dunn's GEEK LOVE, Cathy Day's THE CIRCUS IN WINTER, Sara Gruen's WATER FOR ELEPHANTS, and Erin Morgenstern's THE NIGHT CIRCUS. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

As far back as Ancient Greece, literature imagined and explored the possibility of using artificial means to create human (or human-like) bodies. From Hephaistos, the Greek god of artifice and metalworking, who fashioned his servants' bodies out of metal, to contemporary portrayals of cyborgs and clones in film and fiction, the idea that technology could be used to produce, shape, or enhance the human body has elicited both excitement and fear. Drawing on both literary and cinematic portrayals of artificially produced bodies, this class will examine some of the perennial questions surrounding bodies that are produced by such "unnatural" means. Readings will likely include Kazuo Ishiguro's NEVER LET ME GO, Philip K. Dick's DO ANDROIDS DREAM OF ELECTRIC SHEEP, and James Tiptree Jr.'s "The Girl Who Was Plugged In." Films will include Ridley Scott's BLADE RUNNER, Michael Bay's THE ISLAND, and Steven Spielberg's A.I. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

As far back as Ancient Greece, literature imagined and explored the possibility of using artificial means to create human (or human-like) bodies. From Hephaistos, the Greek god of artifice and metalworking, who fashioned his servants' bodies out of metal, to contemporary portrayals of cyborgs and clones in film and fiction, the idea that technology could be used to produce, shape, or enhance the human body has elicited both excitement and fear. Drawing on both literary and cinematic portrayals of artificially produced bodies, this class will examine some of the perennial questions surrounding bodies that are produced by such "unnatural" means. Readings will likely include Kazuo Ishiguro's NEVER LET ME GO, Philip K. Dick's DO ANDROIDS DREAM OF ELECTRIC SHEEP, and James Tiptree Jr.'s "The Girl Who Was Plugged In." Films will include Ridley Scott's BLADE RUNNER, Michael Bay's THE ISLAND, and Steven Spielberg's A.I. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Shipwrecks, storms at sea, creatures from the deep, and voyages that test human limits in often wild seas--such are the tales that mariners or sailors have told of for centuries. Whether it's Homer's ODYSSEY or Sebastian Junger's THE PERFECT STORM, literature is replete with sea tales and stories written in a variety of genres, including nonfiction prose, fiction, and poetry. Our goal in this class will be to explore a variety of these sea stories, using possible texts such as Alfred Lansing's ENDURANCE, Edgar Allan Poe's THE TALE OF ARTHUR GORDON PYM OF NANTUCKET, as well as short fiction by E.M. Forster, Stephen Crane, and Ernest Hemingway. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Shipwrecks, storms at sea, creatures from the deep, and voyages that test human limits in often wild seas--such are the tales that mariners or sailors have told of for centuries. Whether it's Homer's ODYSSEY or Sebastian Junger's THE PERFECT STORM, literature is replete with sea tales and stories written in a variety of genres, including nonfiction prose, fiction, and poetry. Our goal in this class will be to explore a variety of these sea stories, using possible texts such as Alfred Lansing's ENDURANCE, Edgar Allan Poe's THE TALE OF ARTHUR GORDON PYM OF NANTUCKET, as well as short fiction by E.M. Forster, Stephen Crane, and Ernest Hemingway. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What is any sports event, but a story--multiple stories--playing out before our eyes? Sports by definition involve conflict and drama: man versus man; man versus himself; man versus nature; and, if we believe it possible, man versus the supernatural. It's no accident that some of our greatest metaphors come from the arena of athletics. Through sports we have a way to look at the values of America--at the best we have to offer, and the worst. In this class, we will read, enjoy, and analyze short stories, articles, drama, poetry, novels, essays, and participant journalism. Potential texts may include the following: FRIDAY NIGHT LIGHTS by H. G. Bissinger; A WHOLE OTHER BALL GAME: WOMEN'S LITERATURE ON WOMEN'S SPORT by Joli Sandoz (Editor); THE RIVER WHY by David James Duncan; and THE PERFECT MILE by Neal Bascomb. The writing load for this course is 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

What is any sports event, but a story--multiple stories--playing out before our eyes? Sports by definition involve conflict and drama: man versus man; man versus himself; man versus nature; and, if we believe it possible, man versus the supernatural. It's no accident that some of our greatest metaphors come from the arena of athletics. Through sports we have a way to look at the values of America--at the best we have to offer, and the worst. In this class, we will read, enjoy, and analyze short stories, articles, drama, poetry, novels, essays, and participant journalism. Potential texts may include the following: FRIDAY NIGHT LIGHTS by H. G. Bissinger; A WHOLE OTHER BALL GAME: WOMEN'S LITERATURE ON WOMEN'S SPORT by Joli Sandoz (Editor); THE RIVER WHY by David James Duncan; and THE PERFECT MILE by Neal Bascomb. The writing load for this course is 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

For decades, men in our country have been promised a "mission to manhood," a simple road map to navigate the transition from adolescence to adulthood. At no time was this promise more fully realized than after World War II. Hundreds of thousands of young men returned home from the war ready to be educated, secure a job, buy a home, get married and have a family...and to live happily ever after. Many men followed the blueprint, becoming thoughtful husbands and fathers and successful businessmen. But many others failed--leaving the paternal continuum between fathers and sons frayed and undefined. Sam Shepard lays bare the wreckage of this broken promise--and the failure of post-World War II fathers (and our culture) to guide their sons to manhood--and the long-term impact this failure has had on the American male. The course material will begin with STIFFED, Susan Faludi's concise and thoughtful examination of "the betrayal of the American Man." We'll then examine a number of Shepard's plays, short stories, and films before taking a contemporary look at the apathetic and violent American male on display in Chuck Palahniuk's FIGHT CLUB and the post-apocalyptic male in Cormac McCarthy's THE ROAD. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

For decades, men in our country have been promised a "mission to manhood," a simple road map to navigate the transition from adolescence to adulthood. At no time was this promise more fully realized than after World War II. Hundreds of thousands of young men returned home from the war ready to be educated, secure a job, buy a home, get married and have a family...and to live happily ever after. Many men followed the blueprint, becoming thoughtful husbands and fathers and successful businessmen. But many others failed--leaving the paternal continuum between fathers and sons frayed and undefined. Sam Shepard lays bare the wreckage of this broken promise--and the failure of post-World War II fathers (and our culture) to guide their sons to manhood--and the long-term impact this failure has had on the American male. The course material will begin with STIFFED, Susan Faludi's concise and thoughtful examination of "the betrayal of the American Man." We'll then examine a number of Shepard's plays, short stories, and films before taking a contemporary look at the apathetic and violent American male on display in Chuck Palahniuk's FIGHT CLUB and the post-apocalyptic male in Cormac McCarthy's THE ROAD. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

According to history books, the American Civil War began in 1861, but President Lincoln famously suggested that it began about a decade earlier, with a novel: Harriet Beecher Stowe's UNCLE TOM'S CABIN, which he called "the book that started this great war." In this course, we'll read some of the literature leading up to the Civil War, considering both how it functions to push an agenda and how it works artistically. We'll also read literature from the war itself--by both Northern and Southern writers. The poet Walt Whitman claimed, "the real war will never get in the books," so one of the questions we'll ask in this course is if he's right. Do we get a sense of the "real war" from the literature--and what do we mean by this phrase? How does literature give us a window on a time of such turmoil? We'll read poetry, fiction, and nonfiction centered on this conflict. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

According to history books, the American Civil War began in 1861, but President Lincoln famously suggested that it began about a decade earlier, with a novel: Harriet Beecher Stowe's UNCLE TOM'S CABIN, which he called "the book that started this great war." In this course, we'll read some of the literature leading up to the Civil War, considering both how it functions to push an agenda and how it works artistically. We'll also read literature from the war itself--by both Northern and Southern writers. The poet Walt Whitman claimed, "the real war will never get in the books," so one of the questions we'll ask in this course is if he's right. Do we get a sense of the "real war" from the literature--and what do we mean by this phrase? How does literature give us a window on a time of such turmoil? We'll read poetry, fiction, and nonfiction centered on this conflict. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Literary theorist Terry Eagleton tells us that "Evil is unintelligible;" nevertheless, this course will attempt to bring some intelligent thought to the concept of evil in literature. What is it about evil that fascinates us? Why are evil characters so compelling? Can someone be inherently evil or is evil socially constructed by a particular environment or situation? Does redemption factor into our discussion? Eagleton further tells us that "malevolence cannot be monotonous," so the texts for this course won't be either. Focusing on fiction and nonfiction with a musical text probably added for good measure, we'll likely read Truman Capote's IN COLD BLOOD, Tim O'Brien's IN THE LAKE OF THE WOODS, Lionel Shriver's WE NEED TO TALK ABOUT KEVIN, Gloria Naylor's LINDEN HILLS, and Stephen Sondheim's SWEENEY TODD. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Literary theorist Terry Eagleton tells us that "Evil is unintelligible;" nevertheless, this course will attempt to bring some intelligent thought to the concept of evil in literature. What is it about evil that fascinates us? Why are evil characters so compelling? Can someone be inherently evil or is evil socially constructed by a particular environment or situation? Does redemption factor into our discussion? Eagleton further tells us that "malevolence cannot be monotonous," so the texts for this course won't be either. Focusing on fiction and nonfiction with a musical text probably added for good measure, we'll likely read Truman Capote's IN COLD BLOOD, Tim O'Brien's IN THE LAKE OF THE WOODS, Lionel Shriver's WE NEED TO TALK ABOUT KEVIN, Gloria Naylor's LINDEN HILLS, and Stephen Sondheim's SWEENEY TODD. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This class will focus on literature based in Minnesota, known as the Land of 10,000 Lakes and sometimes as the nation's icebox. Likely works that will be covered include F. Scott Fitzgerald's ST. PAUL STORIES, the nature writing of Sigurd Olson, Bill Holm's essays about living in rural Minnesota, Tim O'Brien's haunting depiction of a veteran's experience in the Lake of the Woods, and Kao Kalia Yang's description of Hmong immigrants in THE LATE HOMECOMER. Each of these writers incorporates a sense of place into their work, and each text offers unique viewpoints on culture, identity, and our connection to the land. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This class will focus on literature based in Minnesota, known as the Land of 10,000 Lakes and sometimes as the nation's icebox. Likely works that will be covered include F. Scott Fitzgerald's ST. PAUL STORIES, the nature writing of Sigurd Olson, Bill Holm's essays about living in rural Minnesota, Tim O'Brien's haunting depiction of a veteran's experience in the Lake of the Woods, and Kao Kalia Yang's description of Hmong immigrants in THE LATE HOMECOMER. Each of these writers incorporates a sense of place into their work, and each text offers unique viewpoints on culture, identity, and our connection to the land. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Situated at the mouth of the Mississippi River, New Orleans has a certain romantic, provocative charm--one that pulls at natives and visitors alike. More so now than in the past, New Orleans is defined by spectacle and excess, both of which are part and parcel of the city's primary industry of tourism. Drawn in by dazzling events like Mardi Gras, the alluring architecture of the French Quarter and the promise of debauchery, tourists rarely bother uncovering the Crescent City's rich history. This class will remedy that oversight. Using the literature of Mark Twain, Kate Chopin, and John Kennedy Toole, as well as various social and environmental histories, we will explore pre- and post-Katrina New Orleans in all its complexities. Ultimately, we will heed former New Orleans Times-Picayune columnist Chris Rose, who implored his readers to "take them to the ruins." The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Situated at the mouth of the Mississippi River, New Orleans has a certain romantic, provocative charm--one that pulls at natives and visitors alike. More so now than in the past, New Orleans is defined by spectacle and excess, both of which are part and parcel of the city's primary industry of tourism. Drawn in by dazzling events like Mardi Gras, the alluring architecture of the French Quarter and the promise of debauchery, tourists rarely bother uncovering the Crescent City's rich history. This class will remedy that oversight. Using the literature of Mark Twain, Kate Chopin, and John Kennedy Toole, as well as various social and environmental histories, we will explore pre- and post-Katrina New Orleans in all its complexities. Ultimately, we will heed former New Orleans Times-Picayune columnist Chris Rose, who implored his readers to "take them to the ruins." The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course is a study of the stories of saints through a variety of genres such as historical fiction, poetry, prayer, the language of novenas, memoir, and autobiography. At the forefront of our contextual explorations, we'll examine how saints teach us how to live in any walk of life or set of circumstances, how they persevere in the face of adversity, and how they have the strength to deal with discouragement. Selected texts will examine the religious journeys of saints, explore their mystical experiences and personal philosophies, and question their humanism within the constructs of their culture and time. As author Molly Wolf writes, "Saints have shown us that there is the possibility of living Godwardly in this life, however imperfectly we do it." The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course is a study of the stories of saints through a variety of genres such as historical fiction, poetry, prayer, the language of novenas, memoir, and autobiography. At the forefront of our contextual explorations, we'll examine how saints teach us how to live in any walk of life or set of circumstances, how they persevere in the face of adversity, and how they have the strength to deal with discouragement. Selected texts will examine the religious journeys of saints, explore their mystical experiences and personal philosophies, and question their humanism within the constructs of their culture and time. As author Molly Wolf writes, "Saints have shown us that there is the possibility of living Godwardly in this life, however imperfectly we do it." The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

According to history books, the American Civil War began in 1861, but President Lincoln famously suggested that it began about a decade earlier, with a novel: Harriet Beecher Stowe's UNCLE TOM'S CABIN, which he called "the book that started this great war." In this course, we'll read some of the literature leading up to the Civil War, considering how it functions to push an agenda and how it works artistically. We'll also read literature from the war itself, by both Northern and Southern writers. The poet Walt Whitman claimed that "the real war will never get in the books," so one of the questions we'll ask in this course is if he's right. Do we get a sense of the "real war" from literature--and what do we mean by this phrase? How does literature give us a window on a time of such turmoil? We'll read poetry, fiction, and nonfiction centered on this conflict. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

According to history books, the American Civil War began in 1861, but President Lincoln famously suggested that it began about a decade earlier, with a novel: Harriet Beecher Stowe's UNCLE TOM'S CABIN, which he called "the book that started this great war." In this course, we'll read some of the literature leading up to the Civil War, considering how it functions to push an agenda and how it works artistically. We'll also read literature from the war itself, by both Northern and Southern writers. The poet Walt Whitman claimed that "the real war will never get in the books," so one of the questions we'll ask in this course is if he's right. Do we get a sense of the "real war" from literature--and what do we mean by this phrase? How does literature give us a window on a time of such turmoil? We'll read poetry, fiction, and nonfiction centered on this conflict. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Home plays a significant role in our lives. What does "home" mean to you? Is it a geographical location (the country and city you were born in and/or live in)? Is it an emotional bond with family members and other people like yourself? Is it a sense of shelter, comfort, safety, and being welcome when you move to a new place? When one is born in a country but moves to another, where is one's home? In this course, we will explore the many ways American writers have represented their senses of home and senses of being homeless in a variety of literary works--novels, short stories, plays, and memoirs. We will investigate through our readings and discussions what it means to live in America, whether as a citizen, an immigrant, or an international. We will consider how our senses of home are often bound up with issues such as memory, hope, loss, regionalism, alienation, and globalization. Authors to be read will include Ernest Hemingway, Walt Whitman, William Faulkner, Alice Walker, Eva Hoffman, and more. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121 (ESL). Please note that this section is only open to English as a Second Language students.

4 Credit Hours

Home plays a significant role in our lives. What does "home" mean to you? Is it a geographical location (the country and city you were born in and/or live in)? Is it an emotional bond with family members and other people like yourself? Is it a sense of shelter, comfort, safety, and being welcome when you move to a new place? When one is born in a country but moves to another, where is one's home? In this course, we will explore the many ways American writers have represented their senses of home and senses of being homeless in a variety of literary works--novels, short stories, plays, and memoirs. We will investigate through our readings and discussions what it means to live in America, whether as a citizen, an immigrant, or an international. We will consider how our senses of home are often bound up with issues such as memory, hope, loss, regionalism, alienation, and globalization. Authors to be read will include Ernest Hemingway, Walt Whitman, William Faulkner, Alice Walker, Eva Hoffman, and more. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121 (ESL). Please note that this section is only open to English as a Second Language students.

4 Credit Hours

Home plays a significant role in our lives. What does "home" mean to you? Is it a geographical location (the country and city you were born in and/or live in)? Is it an emotional bond with family members and other people like yourself? Is it a sense of shelter, comfort, safety, and being welcome when you move to a new place? When one is born in a country but moves to another, where is one's home? In this course, we will explore the many ways American writers have represented their sense of home and senses of being homeless in a variety of literary works--novels, short stories, plays, and memoirs. We will investigate through our readings and discussions what it means to live in America, whether as a citizen, an immigrant, or an international. We will consider how our senses of home are often bound up with issues such as memory, hope, loss, regionalism, alienation, and globalization. Authors to be read include Ernest Hemingway, Walt Whitman, William Faulkner, Alice Walker, Eva Hoffman, and more. The writing load for this course is 15 pages of formal revised writing. Prerequisite: ENGL 121 (ESL). Please note that this section is only open to English as a Second Language students.

4 Credit Hours

Home plays a significant role in our lives. What does "home" mean to you? Is it a geographical location (the country and city you were born in and/or live in)? Is it an emotional bond with family members and other people like yourself? Is it a sense of shelter, comfort, safety, and being welcome when you move to a new place? When one is born in a country but moves to another, where is one's home? In this course, we will explore the many ways American writers have represented their sense of home and senses of being homeless in a variety of literary works--novels, short stories, plays, and memoirs. We will investigate through our readings and discussions what it means to live in America, whether as a citizen, an immigrant, or an international. We will consider how our senses of home are often bound up with issues such as memory, hope, loss, regionalism, alienation, and globalization. Authors to be read include Ernest Hemingway, Walt Whitman, William Faulkner, Alice Walker, Eva Hoffman, and more. The writing load for this course is 15 pages of formal revised writing. Prerequisite: ENGL 121 (ESL). Please note that this section is only open to English as a Second Language students.

4 Credit Hours

Social media, texting, and instant messaging: these are all examples of 21st-century technology that is changing the way we read and write. Instead of declaring the death of the book, we will consider how print and digital literacy converge in a participatory culture that produces creative work, encourages collaboration, and shapes the flow of information. Our approach to what constitutes a "text" will be flexible and may include blogging, texting, media boards, videomaking, podcasting, wikis, etc. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Social media, texting, and instant messaging: these are all examples of 21st-century technology that is changing the way we read and write. Instead of declaring the death of the book, we will consider how print and digital literacy converge in a participatory culture that produces creative work, encourages collaboration, and shapes the flow of information. Our approach to what constitutes a "text" will be flexible and may include blogging, texting, media boards, videomaking, podcasting, wikis, etc. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Social media, texting, and instant messaging: these are all examples of 21st-century technology that is changing the way we read and write. Instead of declaring the death of the book, we will consider how print and digital literacy converge in a participatory culture that produces creative work, encourages collaboration, and shapes the flow of information. Our approach to what constitutes a "text" will be flexible and may include blogging, texting, media boards, videomaking, podcasting, wikis, etc. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

Social media, texting, and instant messaging: these are all examples of 21st-century technology that is changing the way we read and write. Instead of declaring the death of the book, we will consider how print and digital literacy converge in a participatory culture that produces creative work, encourages collaboration, and shapes the flow of information. Our approach to what constitutes a "text" will be flexible and may include blogging, texting, media boards, videomaking, podcasting, wikis, etc. The writing load for this course is a minimum of 15 pages of formal revised writing. Prerequisite: ENGL 121.

4 Credit Hours

This course will focus on extensive reading of a broad selection of British authors from Romanticism to the present. Students will engage in close analysis of literary texts by such authors as Blake, Wordsworth, Tennyson, Conrad, and Woolf, with some attention to historical and cultural contexts. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course will focus on extensive reading of a broad selection of British authors from Romanticism to the present. Students will engage in close analysis of literary texts by such authors as Blake, Wordsworth, Tennyson, Conrad, and Woolf, with some attention to historical and cultural contexts. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course will focus on extensive reading of a broad selection of British authors from Romanticism to the present. Students will engage in close analysis of literary texts by such authors as Blake, Wordsworth, Tennyson, Conrad, and Woolf, with some attention to historical and cultural contexts. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course will focus on extensive reading of a broad selection of British authors from Romanticism to the present. Students will engage in close analysis of literary texts by such authors as Blake, Wordsworth, Tennyson, Conrad, and Woolf, with some attention to historical and cultural contexts. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

The study of significant American authors from the beginnings of American literature to the turn of the twentieth century. This survey course will consider the diverse literary, cultural, and historical contexts from which the American literary tradition has arisen. Possible authors studied include Hawthorne, Douglass, Jacobs, Fuller, Dickinson, Clemens, Jewett, Cooper, Wheatley, Whitman, and Native American voices. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

The study of significant American authors from the beginnings of American literature to the turn of the twentieth century. This survey course will consider the diverse literary, cultural, and historical contexts from which the American literary tradition has arisen. Possible authors studied include Hawthorne, Douglass, Jacobs, Fuller, Dickinson, Clemens, Jewett, Cooper, Wheatley, Whitman, and Native American voices. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

The study of significant American authors from the beginnings of American literature to the turn of the twentieth century. This survey course will consider the diverse literary, cultural, and historical contexts from which the American literary tradition has arisen. Possible authors studied include Hawthorne, Douglass, Jacobs, Fuller, Dickinson, Clemens, Jewett, Cooper, Wheatley, Whitman, and Native American voices. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

The study of significant American authors from the beginnings of American literature to the turn of the twentieth century. This survey course will consider the diverse literary, cultural, and historical contexts from which the American literary tradition has arisen. Possible authors studied include Hawthorne, Douglass, Jacobs, Fuller, Dickinson, Clemens, Jewett, Cooper, Wheatley, Whitman, and Native American voices. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course will focus on extensive reading of a broad selection of authors drawn from the literature of one of the following: (a) American communities of color; (b) postcolonial peoples; (c) diasporic peoples. Students will engage in close analysis of literary texts from at least one such literary tradition, with some attention to historical and cultural contexts. This course fulfills the Human Diversity requirement in the core curriculum. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course will focus on extensive reading of a broad selection of authors drawn from the literature of one of the following: (a) American communities of color; (b) postcolonial peoples; (c) diasporic peoples. Students will engage in close analysis of literary texts from at least one such literary tradition, with some attention to historical and cultural contexts. This course fulfills the Human Diversity requirement in the core curriculum. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course will focus on the history of literature by women. It will concentrate on the traditions in Britain and America, but also will include some attention to non-Western women writers. It will address issues of canon formation, as well as the role of gender in the composition and reading of literary texts. This course fulfills the Human Diversity requirement in the core curriculum. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course will focus on the history of literature by women. It will concentrate on the traditions in Britain and America, but also will include some attention to non-Western women writers. It will address issues of canon formation, as well as the role of gender in the composition and reading of literary texts. This course fulfills the Human Diversity requirement in the core curriculum. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course introduces students to skills necessary for imaginative writing. It includes close readings of literary texts that model basic techniques, weekly writing exercises that encourage exploration and development of craft, and workshop discussions to develop students' critical skills. This course will include instruction in setting, character, voice, point of view, literal and figurative imagery, rhythm and sound patterns, and literary structures. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course introduces students to skills necessary for imaginative writing. It includes close readings of literary texts that model basic techniques, weekly writing exercises that encourage exploration and development of craft, and workshop discussions to develop students' critical skills. This course will include instruction in setting, character, voice, point of view, literal and figurative imagery, rhythm and sound patterns, and literary structures. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course introduces students to skills necessary for imaginative writing. It includes close readings of literary texts that model basic techniques, weekly writing exercises that encourage exploration and development of craft, and workshop discussions to develop students' critical skills. This course will include instruction in setting, character, voice, point of view, literal and figurative imagery, rhythm and sound patterns, and literary structures. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course introduces students to skills necessary for imaginative writing. It includes close readings of literary texts that model basic techniques, weekly writing exercises that encourage exploration and development of craft, and workshop discussions to develop students' critical skills. This course will include instruction in setting, character, voice, point of view, literal and figurative imagery, rhythm and sound patterns, and literary structures. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

Working from a base of contemporary rhetorical theory, advanced writing students will write essays in a variety of forms. They will be encouraged to develop a vocabulary for talking about writing, as well as the ability to critique their own and others' work. Directed reading in contemporary writing pedagogy for the elementary and secondary composition teacher. Required for secondary licensure in communication arts and literature students. Prerequisites: ENGL 201, 202, 203, or 204; advanced writing skills

4 Credit Hours

Working from a base of contemporary rhetorical theory, advanced writing students will write essays in a variety of forms. They will be encouraged to develop a vocabulary for talking about writing, as well as the ability to critique their own and others' work. Directed reading in contemporary writing pedagogy for the elementary and secondary composition teacher. Required for secondary licensure in communication arts and literature students. Prerequisites: ENGL 201, 202, 203, or 204; advanced writing skills

4 Credit Hours

Rhetoric teaches us that writing is not just about expressing ourselves in script; writing can also do something in the world. In this course, we will use our writing to do something in our world. Students will choose a service learning site and collaborate for the second half of the semester (an average of one hour a week) with members of that community on a writing project that works towards some "action item" for that site, whether it be the establishment of a new community center or park, the enforcement of a law, the nomination of a candidate, or the start of a public health awareness campaign, a newsletter, or a blog. Throughout the semester, students will write short analyses of scholarly work about similar efforts to do community work through persuasive writing, culminating in a final project at the end of the semester which will require the synthesis of several scholarly articles. Prerequisite: ENGL 121 and/or ENGL 201, 202, 203, or 204.

4 Credit Hours

Rhetoric teaches us that writing is not just about expressing ourselves in script; writing can also do something in the world. In this course, we will use our writing to do something in our world. Students will choose a service learning site and collaborate for the second half of the semester (an average of one hour a week) with members of that community on a writing project that works towards some "action item" for that site, whether it be the establishment of a new community center or park, the enforcement of a law, the nomination of a candidate, or the start of a public health awareness campaign, a newsletter, or a blog. Throughout the semester, students will write short analyses of scholarly work about similar efforts to do community work through persuasive writing, culminating in a final project at the end of the semester which will require the synthesis of several scholarly articles. Prerequisite: ENGL 121 and/or ENGL 201, 202, 203, or 204.

4 Credit Hours

This intermediate course explores traditional and innovative patterns of poetry writing. Emphasis on experimentation with a variety of techniques and development of individual voice. This course will include critique sessions, readings to broaden possibilities of form and subject, and individual instruction. Open to students with some previous experience in writing poetry. Prerequisite: ENGL 255 or permission of instructor.

4 Credit Hours

This intermediate course explores traditional and innovative patterns of poetry writing. Emphasis on experimentation with a variety of techniques and development of individual voice. This course will include critique sessions, readings to broaden possibilities of form and subject, and individual instruction. Open to students with some previous experience in writing poetry. Prerequisite: ENGL 255 or permission of instructor.

4 Credit Hours

This intermediate course explores traditional and innovative patterns of creative nonfiction writing. Emphasis on experimentation with a variety of techniques and development of individual voice. This course will include critique sessions, readings to broaden possibilities of form and subject, and individual instruction. Prerequisite: ENGL 255 or permission of instructor

4 Credit Hours

This intermediate course explores traditional and innovative patterns of creative nonfiction writing. Emphasis on experimentation with a variety of techniques and development of individual voice. This course will include critique sessions, readings to broaden possibilities of form and subject, and individual instruction. Prerequisite: ENGL 255 or permission of instructor

4 Credit Hours

In Genesis 32, Jacob famously wrestles with God. He is not alone, however! From Biblical times through the present day, human beings have grappled with God--not physically, but through literary expression. In this interdisciplinary course, co-taught by professors in theology and English, we will look at how literary language and forms are used by writers to engage key theological questions. Together, we'll explore theological themes such as creation, redemption, faith and doubt, and good and evil in novels, short stories, essays, and poetry. If you would like to spend a semester reading, writing, and talking about engaging literature connected to theological issues, then this is the course for you! This is a cross-listed course, meaning that 10 seats are offered by the Theology Department under THEO 448-01 and 10 seats are offered by the English Department under ENGL 325-02. Students who register for this course under either department may satisfy the third core course requirement in theology, though students may not earn core credit for both theology and literature and writing. For English majors and minors, this course counts as a 300-level elective. Prerequisite: ENGL 121 and/or ENGL 201, 202, 203, and 204.

4 Credit Hours

In Genesis 32, Jacob famously wrestles with God. He is not alone, however! From Biblical times through the present day, human beings have grappled with God--not physically, but through literary expression. In this interdisciplinary course, co-taught by professors in theology and English, we will look at how literary language and forms are used by writers to engage key theological questions. Together, we'll explore theological themes such as creation, redemption, faith and doubt, and good and evil in novels, short stories, essays, and poetry. If you would like to spend a semester reading, writing, and talking about engaging literature connected to theological issues, then this is the course for you! This is a cross-listed course, meaning that 10 seats are offered by the Theology Department under THEO 448-01 and 10 seats are offered by the English Department under ENGL 325-02. Students who register for this course under either department may satisfy the third core course requirement in theology, though students may not earn core credit for both theology and literature and writing. For English majors and minors, this course counts as a 300-level elective. Prerequisite: ENGL 121 and/or ENGL 201, 202, 203, and 204.

4 Credit Hours

J.R.R. Tolkien is best known for THE HOBBIT and THE LORD OF THE RINGS, works that have been popular since they were first published. As an Oxford Professor and eminent medievalist, he wrote out of what he knew about Old English, Old Norse, and Middle English literature. He was a ground-breaking medieval scholar who loved his work so much that he created fictional works rooted in the language and traditions of the Anglo-Saxon, Norse, Gothic, and Celtic cultures that he studied. This course explores Tolkien's work as rooted in ancient and medieval legends, mythologies, and literary genres and practices. We will seek to understand Tolkien's achievement both in its own right and as the continuation of the classical and medieval narrative traditions it both springs from and renews. Among the topics to be dealt with: Tolkien's understanding of mythology and "faerie story"; Germanic and Finnish mythology; Anglo-Saxon literature; Celtic legend and mythology; the genre of medieval romance; his critics; and the silver screen. THIS IS NOT A COURSE FOR BEGINNERS NEW TO THE WORKS OF TOLKIEN OR FOR THOSE WHO HAVE SEEN ONLY PETER JACKSON'S MOVIE VERSIONS. Prior knowledge of THE HOBBIT and THE LORD OF THE RINGS will provide the foundation for much of our analysis. This course fulfills the Early Literature distribution requirement for English majors. Prerequisites: ENGL 121 and/or ENGL 201, 202, 203, 204.

4 Credit Hours

J.R.R. Tolkien is best known for THE HOBBIT and THE LORD OF THE RINGS, works that have been popular since they were first published. As an Oxford Professor and eminent medievalist, he wrote out of what he knew about Old English, Old Norse, and Middle English literature. He was a ground-breaking medieval scholar who loved his work so much that he created fictional works rooted in the language and traditions of the Anglo-Saxon, Norse, Gothic, and Celtic cultures that he studied. This course explores Tolkien's work as rooted in ancient and medieval legends, mythologies, and literary genres and practices. We will seek to understand Tolkien's achievement both in its own right and as the continuation of the classical and medieval narrative traditions it both springs from and renews. Among the topics to be dealt with: Tolkien's understanding of mythology and "faerie story"; Germanic and Finnish mythology; Anglo-Saxon literature; Celtic legend and mythology; the genre of medieval romance; his critics; and the silver screen. THIS IS NOT A COURSE FOR BEGINNERS NEW TO THE WORKS OF TOLKIEN OR FOR THOSE WHO HAVE SEEN ONLY PETER JACKSON'S MOVIE VERSIONS. Prior knowledge of THE HOBBIT and THE LORD OF THE RINGS will provide the foundation for much of our analysis. This course fulfills the Early Literature distribution requirement for English majors. Prerequisites: ENGL 121 and/or ENGL 201, 202, 203, 204.

4 Credit Hours

In "AmeRican," Puerto Rican poet Tato Laviera dreams to "take the accent from / the altercation, and be proud to call / myself american, in the u.s. sense of the / word, AmeRican, America!" These lines capture an essential quality about Latino life in the United States, an existence in which Latinos are caught between worlds, between languages, between cultures, and often struggle for inclusion in an American mainstream that views them as homogenous at best, and as outsiders at worst. In reality, Latinos are as diverse a group as any major urban population--racially, ethnically, culturally, linguistically and nationally. In this class, we will read contemporary fiction, nonfiction, drama, and poetry by Latino authors that grapples with the multifaceted reality of Latino experience in the United States. As we read these texts, we will ask how authors attempt to define, negotiate, and contest American identity, and how these texts struggle with the relationship of Latinos to the nation in the context of a history of U.S. imperialism. Possible authors to be discussed include Junot Diaz, Ana Menendez, Luis Alberto Urrea, Cristina Garcia, Julia Alvarez, Daniel Alarcon, Sandra Cisneros, Ana Castillo, Achy Obejas, Luis J. Rodriguez, Martin Espada, Josefina Lopez, and Ernesto Quinonez. Texts will be in English, with the possibility of occasional Spanish usage by individual authors. This course fulfills the Human Diversity requirement of the core curriculum and the Diversity distribution requirement for English majors. Prerequisite: ENGL 121 and/or ENGL 201, 202, 203, or 204.

4 Credit Hours

In "AmeRican," Puerto Rican poet Tato Laviera dreams to "take the accent from / the altercation, and be proud to call / myself american, in the u.s. sense of the / word, AmeRican, America!" These lines capture an essential quality about Latino life in the United States, an existence in which Latinos are caught between worlds, between languages, between cultures, and often struggle for inclusion in an American mainstream that views them as homogenous at best, and as outsiders at worst. In reality, Latinos are as diverse a group as any major urban population--racially, ethnically, culturally, linguistically and nationally. In this class, we will read contemporary fiction, nonfiction, drama, and poetry by Latino authors that grapples with the multifaceted reality of Latino experience in the United States. As we read these texts, we will ask how authors attempt to define, negotiate, and contest American identity, and how these texts struggle with the relationship of Latinos to the nation in the context of a history of U.S. imperialism. Possible authors to be discussed include Junot Diaz, Ana Menendez, Luis Alberto Urrea, Cristina Garcia, Julia Alvarez, Daniel Alarcon, Sandra Cisneros, Ana Castillo, Achy Obejas, Luis J. Rodriguez, Martin Espada, Josefina Lopez, and Ernesto Quinonez. Texts will be in English, with the possibility of occasional Spanish usage by individual authors. This course fulfills the Human Diversity requirement of the core curriculum and the Diversity distribution requirement for English majors. Prerequisite: ENGL 121 and/or ENGL 201, 202, 203, or 204.

4 Credit Hours

This course offers an intensive focus on the literature and culture of the English early modern period. Such authors as Sidney, Spenser, Elizabeth I and Cary will provide a context for reading Shakespeare's works. Critical approaches and issues will also be studied. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course offers an intensive focus on the literature and culture of the English early modern period. Such authors as Sidney, Spenser, Elizabeth I and Cary will provide a context for reading Shakespeare's works. Critical approaches and issues will also be studied. Prerequisites: ENGL 201, 202, 203, or 204

4 Credit Hours

This course focuses on ideas and practices central to advanced work in the field of language and literature. In addition to refining students' facility with critical concepts and scholarly methodology, this course will explore a number of key questions for current work in the discipline: How do we define such concepts as literacy, literature, and interpretation? How do we understand the relationship between reader, writer, and text? How do such factors as gender, culture, and history affect our understanding of literature and of ourselves as writers and readers? Prerequisites: ENGL 201, 202, 203, or 204; at least two courses in ENGL at or beyond ENGL 211

4 Credit Hours

This course focuses on ideas and practices central to advanced work in the field of language and literature. In addition to refining students' facility with critical concepts and scholarly methodology, this course will explore a number of key questions for current work in the discipline: How do we define such concepts as literacy, literature, and interpretation? How do we understand the relationship between reader, writer, and text? How do such factors as gender, culture, and history affect our understanding of literature and of ourselves as writers and readers? Prerequisites: ENGL 201, 202, 203, or 204; at least two courses in ENGL at or beyond ENGL 211

4 Credit Hours

This course focuses on ideas and practices central to advanced work in the field of language and literature. In addition to refining students' facility with critical concepts and scholarly methodology, this course will explore a number of key questions for current work in the discipline: How do we define such concepts as literacy, literature, and interpretation? How do we understand the relationship between reader, writer, and text? How do such factors as gender, culture, and history affect our understanding of literature and of ourselves as writers and readers? Prerequisites: ENGL 201, 202, 203, or 204; at least two courses in ENGL at or beyond ENGL 211

4 Credit Hours

This course focuses on ideas and practices central to advanced work in the field of language and literature. In addition to refining students' facility with critical concepts and scholarly methodology, this course will explore a number of key questions for current work in the discipline: How do we define such concepts as literacy, literature, and interpretation? How do we understand the relationship between reader, writer, and text? How do such factors as gender, culture, and history affect our understanding of literature and of ourselves as writers and readers? Prerequisites: ENGL 201, 202, 203, or 204; at least two courses in ENGL at or beyond ENGL 211

4 Credit Hours

Stephen Henderson, speaking from the context of the Black Arts Movement of the late 1960's, addressed the question, "What makes a Black text Black?" by positing a theory of "saturation." That is, "Black" texts were suffused ("saturated") with two critically indigenous elements: the ethos of Black music and of Black oral practice, from storytelling to street talk. In this course, we will concentrate on one of these elements--Black music, specifically blues and its close relative jazz--and consider what it contributes to the "aesthetic," broadly understood, of African-American literary production. We will focus on a number of literary texts that in different ways reflect a "blues-oriented" way of construing and processing experience both personal and historical; and we will examine a broad range of critical readings which attempt to articulate and assess the workings of a "blues aesthetic" in American and African-American life. Students will write a series of short essays, keep a Blackboard journal, and complete a major paper project of 10-15 pages on one of the works studied in the course. This course fulfills both the Human Diversity requirement of the core curriculum and the Diversity distribution requirement for English majors. Prerequisite: ENGL 121 and/or ENGL 201, 202, 203, or 204.

4 Credit Hours

Stephen Henderson, speaking from the context of the Black Arts Movement of the late 1960's, addressed the question, "What makes a Black text Black?" by positing a theory of "saturation." That is, "Black" texts were suffused ("saturated") with two critically indigenous elements: the ethos of Black music and of Black oral practice, from storytelling to street talk. In this course, we will concentrate on one of these elements--Black music, specifically blues and its close relative jazz--and consider what it contributes to the "aesthetic," broadly understood, of African-American literary production. We will focus on a number of literary texts that in different ways reflect a "blues-oriented" way of construing and processing experience both personal and historical; and we will examine a broad range of critical readings which attempt to articulate and assess the workings of a "blues aesthetic" in American and African-American life. Students will write a series of short essays, keep a Blackboard journal, and complete a major paper project of 10-15 pages on one of the works studied in the course. This course fulfills both the Human Diversity requirement of the core curriculum and the Diversity distribution requirement for English majors. Prerequisite: ENGL 121 and/or ENGL 201, 202, 203, or 204.

4 Credit Hours

This advanced course focuses on the student's development of a substantial body of work in a chosen genre: poetry, fiction, or creative nonfiction. Students will review their previous writing, do further exploration of a chosen genre, and produce significant new work in that genre. Readings will include theoretical and creative texts. Prerequisite: ENGL 321 or 322 or 323 or permission of instructor based on examination of a portfolio

4 Credit Hours

This advanced course focuses on the student's development of a substantial body of work in a chosen genre: poetry, fiction, or creative nonfiction. Students will review their previous writing, do further exploration of a chosen genre, and produce significant new work in that genre. Readings will include theoretical and creative texts. Prerequisite: ENGL 321 or 322 or 323 or permission of instructor based on examination of a portfolio

2 Credit Hours

Part II of the sequence of two, two-credit courses, ENGL 421 and 422, includes readings from The Art of Literary Editing, active involvement with other editors in the selection process, learning and applying principles of literary copyediting, using desktop publishing to produce the new edition of Summit Avenue Review, and learning Web design to create and revise pages on the Summit Avenue Review Web site. Completion of the two-semester sequence fulfills the second-level Computer Competency requirement in the core curriculum. Prerequisite: ENGL 421

2 Credit Hours

Part II of the sequence of two, two-credit courses, ENGL 421 and 422, includes readings from The Art of Literary Editing, active involvement with other editors in the selection process, learning and applying principles of literary copyediting, using desktop publishing to produce the new edition of Summit Avenue Review, and learning Web design to create and revise pages on the Summit Avenue Review Web site. Completion of the two-semester sequence fulfills the second-level Computer Competency requirement in the core curriculum. Prerequisite: ENGL 421

4 Credit Hours

Much of the current notion of a hero--a rugged individualist , an outsider of the establishment, and a passionate but frustrated lover--is derived from the notion of the Romantic hero. The Romantic hero is a freedom-seeker with unwavering will (e.g. Napoleon), a rebel against established norms, and an introspective person with an inner world. "The Byronic hero"--a dashing, passionate, handsome, brooding, defiant, and lonely man of distinction--epitomizes the Romantic hero. Not only Byron, but William Blake, and Percy and Mary Shelley all created fascinating Romantic heroes (and heroines) in their writing, blending myth and history, political and poetical, and Gothic and scientific. Furthermore, they also interrogated how heroic characters have deep contradictions within themselves, to the extent that they can become monstrous, thereby exposing human duality. Mary Shelley's Victor Frankenstein is just one example of such explorations. These writers' constructions of Romantic heroes and monsters made an enormous impact not only on the writers of later generations, but also on philosophy, paintings, psychology, politics, plays, films, and music. From an interdisciplinary perspective, we will investigate how, for example, Blake inspired both The Doors and Alan Ginsberg, how Byron influenced Turner's paintings and Nietzsche's philosophy; how Percy Shelley championed the vegetarian movement as well as the Irish people; and how Mary Shelley's work ushered in the genre of science fiction and served as a source of endless inspiration to Hollywood. This seminar satisfies the British Literature distribution requirement for English majors. Prerequisite: Completion of five ENGL courses at or beyond ENGL 211, including ENGL 380; or, for non-majors, permission of the instructor and department chair.

4 Credit Hours

Much of the current notion of a hero--a rugged individualist , an outsider of the establishment, and a passionate but frustrated lover--is derived from the notion of the Romantic hero. The Romantic hero is a freedom-seeker with unwavering will (e.g. Napoleon), a rebel against established norms, and an introspective person with an inner world. "The Byronic hero"--a dashing, passionate, handsome, brooding, defiant, and lonely man of distinction--epitomizes the Romantic hero. Not only Byron, but William Blake, and Percy and Mary Shelley all created fascinating Romantic heroes (and heroines) in their writing, blending myth and history, political and poetical, and Gothic and scientific. Furthermore, they also interrogated how heroic characters have deep contradictions within themselves, to the extent that they can become monstrous, thereby exposing human duality. Mary Shelley's Victor Frankenstein is just one example of such explorations. These writers' constructions of Romantic heroes and monsters made an enormous impact not only on the writers of later generations, but also on philosophy, paintings, psychology, politics, plays, films, and music. From an interdisciplinary perspective, we will investigate how, for example, Blake inspired both The Doors and Alan Ginsberg, how Byron influenced Turner's paintings and Nietzsche's philosophy; how Percy Shelley championed the vegetarian movement as well as the Irish people; and how Mary Shelley's work ushered in the genre of science fiction and served as a source of endless inspiration to Hollywood. This seminar satisfies the British Literature distribution requirement for English majors. Prerequisite: Completion of five ENGL courses at or beyond ENGL 211, including ENGL 380; or, for non-majors, permission of the instructor and department chair.

4 Credit Hours

Foundation in theater and drama for the non-major beginning student; orientation to the dramatic tradition through consideration of plays and playwrights from the Greeks to the present; history of theatrical customs, traditions and conventions as they affect modern stage design, acting, directing, costumes, make-up and criticism. Experience in seeing and analyzing CSC/UST and Twin City play productions and in producing a play. This course does not count towards a theater major. Open to all students. This course fulfills the Fine Arts requirement in the core curriculum.

4 Credit Hours

Foundation in theater and drama for the non-major beginning student; orientation to the dramatic tradition through consideration of plays and playwrights from the Greeks to the present; history of theatrical customs, traditions and conventions as they affect modern stage design, acting, directing, costumes, make-up and criticism. Experience in seeing and analyzing CSC/UST and Twin City play productions and in producing a play. This course does not count towards a theater major. Open to all students. This course fulfills the Fine Arts requirement in the core curriculum.

4 Credit Hours

Foundation in theater and drama for the non-major beginning student; orientation to the dramatic tradition through consideration of plays and playwrights from the Greeks to the present; history of theatrical customs, traditions and conventions as they affect modern stage design, acting, directing, costumes, make-up and criticism. Experience in seeing and analyzing CSC/UST and Twin City play productions and in producing a play. This course does not count towards a theater major. Open to all students. This course fulfills the Fine Arts requirement in the core curriculum.

4 Credit Hours

Foundation in theater and drama for the non-major beginning student; orientation to the dramatic tradition through consideration of plays and playwrights from the Greeks to the present; history of theatrical customs, traditions and conventions as they affect modern stage design, acting, directing, costumes, make-up and criticism. Experience in seeing and analyzing CSC/UST and Twin City play productions and in producing a play. This course does not count towards a theater major. Open to all students. This course fulfills the Fine Arts requirement in the core curriculum.

4 Credit Hours

THTR 297: Great Filmmakers introduces students to some of the most important and influential directors in the history of cinema. Our specific focus will be the work of directors like F. W. Murnau (NOSFERATU), Alfred Hitchcock (PSYCHO), Akira Kurosawa (RASHOMON), and Martin Scorsese (GOODFELLAS). The analytical approach to the course will be based on the auter theory--which means we will analyze films or a body of cinematic work based on one individual's influence on those films; in essence, the author's voice. By looking in detail at four great filmmakers, we'll be able to understand and identify the importance of the role of the director in filmmaking and gain an appreciation of a film director's craft and artistry. This course satisfies the Fine Arts requirement in the core curriculum. Prerequisites: None.

4 Credit Hours

THTR 297: Great Filmmakers introduces students to some of the most important and influential directors in the history of cinema. Our specific focus will be the work of directors like F. W. Murnau (NOSFERATU), Alfred Hitchcock (PSYCHO), Akira Kurosawa (RASHOMON), and Martin Scorsese (GOODFELLAS). The analytical approach to the course will be based on the auter theory--which means we will analyze films or a body of cinematic work based on one individual's influence on those films; in essence, the author's voice. By looking in detail at four great filmmakers, we'll be able to understand and identify the importance of the role of the director in filmmaking and gain an appreciation of a film director's craft and artistry. This course satisfies the Fine Arts requirement in the core curriculum. Prerequisites: None.