Department of English at Illinois State University

Summer 2014 Course Offerings

For the most current schedule information, please visit the University's Course Finder.

Information about fall 2014 Undergraduate courses and fall 2014 Graduate courses

ENG 101 Composition as Critical Inquiry

Rhetorical approach to writing, taught through extensive collaborative drafting, revising, and editing. Emphasis on critical reading and analysis. Computer-assisted. Not for credit major/minor. May not be taken under the CT/NC option.

Section 01, online, 5/19 to 7/11, 8 weeks, Rhonda Nicol

ENG 110 English Literature and Its Contents

Interdisciplinary writing-intensive course focusing on significant humanities texts in relationship to their historical and cultural contexts.

Section 01, online, 6/16 to 7/11, 4 weeks, Carol Lind

This will be a completely online course in which we will do our work utilizing screencast lectures, discussion groups, and various Reggienet tools. Because we will be covering roughly fifteen-hundred years of English literature in four weeks, successful students will be expected to make this their four-week full-time job in order to rigorously complete the various course requirements: viewing lectures, reading the material, taking assessments, interacting with their fellow classmates and, most importantly, thinking about the connections and contextual influences between and upon the works we are studying.

IDS 121.19 Texts and Contexts

Interdisciplinary writing-intensive course focusing on significant humanities texts in relationship to their historical and cultural contexts.

Section 01, online, 7/14 to 8/8, 4 weeks, TBA

Section 02, online, 5/19 to 6/13, 4 weeks, TBA

ENG 124 Film Style and Literature

An introduction to the analysis of films and their literary components through an application of specialized terms and concepts. Not for credit if had ENG 107.

Section 01, online, 6/16 to 7/11, 4 weeks, William McBride

Laugh Still

WARNING: The content of the books and films in this class are designed for mature audiences only. If issues of race, sex, violence, class, drugs, profanity or politics cause you discomfort or upset, please consider enrolling in a different class.

Think of this course as an intensive English Department literature course in which you write essays in a "foreign" language--the language of film. The theory of Film Style & Literature argues that style can be described, analyzed, and turned into meaning via metaphor. Your goal is to acquire adequate film vocabulary and skill to convert your observations of camera placement and movement, lighting, spatial relationships, soundtrack, etc. into an analysis of the meaning of a "stylized moment" and, from that, of the film as a whole. Do not be misled by the fact that this is a 100 level General Education course--it is nonetheless challenging.

Fun Course! You'll see movies in a different way, but it's a lot of work, particularly when squeezed into one summer month. Please be prepared to work every weekday.

To see if this class is right for you, watch this video:
How to Succeed in Online Courses

PHASE ONE: GENRES: Screwball, Noir, Western

Maltese Falcon




Death of a Salesman
Who's Afraid of Virginia Woolf


Taxi Driver
Life Lessons
Blue Velvet
Into the Wild

You must be thoroughly familiar with ReggieNet.
11 screening/reading posts
2 critical essays
-All films are digitized within ReggieNet in "Resources & Materials"

Required Texts
Stylized Moments: Turning Film Style Into Meaning  [2013] eTextbook
Into The Wild (1996) by Jon Krakauer(@ bookstore)

ENG 125 Literary Narrative

Critical reading and analysis of a variety of literary narratives that reflect on human experience. May not be taken under the CT/NC option.

Section 01, MTWR, 11:00-1:50, 5/19 to 6/13, 4 weeks, Kass Fleisher

Section 02, online, 6/16 to 7/11, 4 weeks, TBA

ENG 128 Gender in the Humanities

Examination of gender roles, norms, and stereotypes from a broad range of perspectives within humanities across centuries and cultures. May not be taken under the CT/NC option.

Section 01, online, 5/19 to 6/13, 4 weeks, Angela Haas

Section 02, online, 6/16 to 7/11, 4 weeks, TBA

ENG 145 Writing in the Academic Disciplines

Introduction to research-based writing for multiple academic audiences. Computer-assisted.

Section 01, TR at 11:00-1:50, 5/20 to 7/11, 8 weeks, TBA

ENG 227 Introduction to Creative Writing

Opportunity for creative writing of various kinds, such as poetry, fiction, and nonfiction.

Section 01, online, 5/19 to 6/27, 6 weeks, Gabe Gudding

Back to top

ENG 249 Technical and Professional Writing I

Introduction to technical and professional writing. Includes study of manuals, reports, proposals, audience analysis, formatting, and style.

Section 01, online, 5/19 to 6/27, 6 weeks, Lee Brasseur

ENG 271 Literature for Young Children

Analysis of works written for children ages 5 to 9, including multicultural picture books, fairy tales, poetry, and chapter books. Does not repeat material of ENG 170.

Section 01, MTWR at 11:00-1:50, 6/16 to 7/11, 4 weeks, TBA

ENG 290 Language Arts

Study of language acquisition and research in critical thinking, listening, speaking, writing, vocabulary development, usage, and spelling for children.

Section 01, online, 6/9 to 7/18, 6 weeks, Eileen Bularzik

ENG 341 Introduction to Descriptive Linguistics

Aims and methods of linguistic science. Nature and functions of language: phonology, morphology, syntax, variation.

Section 01, MTWR at 11:00-1:50, 7/14 to 8/8, 4 weeks, K. Aaron Smith


ENG 344 TESOL: Theoretical Foundations

Linguistic theories, first and second language acquisition, cognitive, affective, and cultural factors in teaching English as a Second Language.

Section 01, online, 6/16 to 7/11, Hyun-Sook Kang

This online course will introduce key concepts and issues in TESOL (Teaching English to Speakers of Other Languages). Topics to be covered include the nature of first and second language acquisition, linguistic, cognitive, affective, and socio-cultural factors in developmental processes and learning outcomes, and the role of input and instruction in language learning. The course will provide opportunities to critically evaluate a variety of approaches to TESOL and research findings. Class discussion will further attempt to make implications for language teaching in the classroom and beyond. The course will meet and interact through ReggieNet, the course management system.

ENG 375 Young Adult Literature

Advanced critical examination of literature for young adults with emphasis on trends and research. May repeat if content different.

Section 01, MTWR at 1:00-3:50, 5/19 to 6/13, 4 weeks, Karen Coats

In this edition of 375, we’ll be looking at three major themes that thread through issues of adolescence, literature, and contemporary culture: negotiating identity, who’s watching?, and why we read. Psychologists and cultural critics agree that while puberty is a function of biology, adolescence is a sociocultural phenomenon, the experience of which is highly dependent on the values, material goals, and affluence of a particular society. It is a time for negotiating identity in the matrix of discourses of gender, race, nationality, ethnicity, technology, spirituality, embodiment, and ethics. But recent research on adolescence indicates that we can’t neglect the biological dimension of adolescence: teens have distinct ways of thinking and feeling that are related to the structure and growth of their brains. What stories, then, do contemporary authors of young adult literature tell, and how do they affect and influence a readership that is biologically predisposed to lead with their emotions while they are actively engaged in sorting out their identities and their values? To approach these questions, we will be reading books and viewing films that inspire strong emotional responses (you’ll laugh, you’ll cry, you’ll say eeeuw) while also asking readers to think about contemporary issues such as the growth in surveillance culture (dust off your Foucault), what it means to be white/ black/ brown/ other/ straight/ gay/ male/ female/ other/ monstrous/ drunk/ disabled/ other, and who gets to decide what such identity categories mean anyway. The theoretical orientation of the class is a synthesis of neuropsychoanalysis, cognitive poetics, cultural theory, and multimodal engagement.

Required Texts (ebooks okay if available)

  • Alexie, Sherman, The Absolutely True Diary of a Part-time Indian
  • Anderson, M. T., Feed
  • Block, Francesca Lia, Weetzie Bat
  • Brosgol, Vera, Anya’s Ghost
  • Collins, Susan, The Hunger Games
  • Cormier, Robert, The Chocolate War
  • Hinton, S. E., The Outsiders
  • Lockhart, E., The Disreputable History of Frankie Landau-Banks
  • Myers, Walter Dean, Monster
  • Tharp, Tim, The Spectacular Now
  • Yang, Gene Luen, American Born Chinese
  • Yang, Gene Luen, Boxers and Saints (please note that these are two separate books in a boxed set)
  • ENG 398 Professional Practice: Internship in English

    Supervised field experience in English with local, state, national, and international businesses, agencies, institutions (including colleges and universities), and organizations. Information about internships is available at

    Section 01, Arrange, 5/19 to 8/8, James Kalmbach

    ENG 409.06  The Writing Project

    Improving the quality of writing instruction in middle and high schools. Topics: .01 Major Figures in the Teaching of Writing; .02 Issues of Grammar; .03 Writing Assessment; .04 Using technology to Teach Writing; .05 Applying Rhetoric to Teaching of Writing; .06 The Writing Project. Prerequisite: Middle or Secondary School certification or consent of instructor.

    Section 01, MTWR at 1:00-3:50, 6/16 to 7/10, 4 weeks, Julie Cheville

    ENG 498 Professional Practice: Internship in English

    Supervised field experience in English with local, state, national, and international businesses, agencies, institutions (including colleges and universities), and organizations. Information about internships is available at

    Section 01, Arrange, 5/20 to 8/9, James Kalmbach

    ENG 560 Seminar in Literature and Culture

    Research in selected areas of literary and/or cultural study framed within the contexts of pedagogy and English Studies.

    Section 01, MTWR at 9:00-12:30, 6/16 to 7/11, 4 weeks, Brian Rejack

    The Case for Romantic Media Studies

    Maureen McLane and Celeste Langan begin their 2008 article, "The Medium of Romantic Poetry" with the suggestion that "the study of Romantic poiesis - poetic making in its broadest sense - belongs as much to media history as to literary scholarship." This doctoral seminar will pursue that claim by reading British Romantic-era poetry (and other arts) through a theoretical grounding in media studies. Typically when one speaks of "media studies," the 20th- and 21st-century "new" media forms first come to mind. But several scholars working in 18th- and 19th-century studies have demonstrated the value of bringing print and other "older" media back into the purview of media studies, particularly since, as McLane and Langan argue, our modern notions of mediation and media first begin to take shape in the Romantic period. Romanticists in the last fifteen years have been particularly good bringing together book history and media studies, two related but sometimes reluctant discursive interlocutors. Our investigations into Romantic media studies will raise some of the following core questions: what is the relationship between media studies and literary scholarship? How do we theorize and historicize media and mediation? How do we define the "Romantic" in "Romantic media studies?" And how do we position media studies in relation to the broader designation, digital humanities?

    This last question will be of particular interest for our conversations about pedagogy. In a recent essay titled, "Where is Cultural Criticism in the Digital Humanities?" Alan Liu challenges DH practitioners, who tend to emphasize "building" and "making" as core DH activities, to incorporate more active cultural criticism into those processes and products. One answer to the question posed in his title, I suggest, is the classroom. Many DH projects are produced and/or consumed in the classroom, and many have a designed pedagogical aim; when done effectively, those practices can engage students in the kinds of cultural criticism Liu calls for. When we historicize and theorize media, we do so, in part, to inform our own practices with media, especially pedagogical practices. Following Liu's lead, part of our task will be to consider how a media studies grounding can lead to the use and development of DH tools with attention to issues of power, economics, and culture more broadly.

    Given that the course occurs in a brief four-week span, some prior reading will be required. We will have some common readings governing our process, while each student will also be pursuing an individual research project. Each student will give two presentations: one at the beginning of the course on a theoretical/methodological text of his or her choosing, and one at the end reporting on the research project progress over the course of the four weeks. More communication from me regarding course content and organization will occur later this spring.