Fall 2013 Undergraduate Course Offerings

ENG 100 Introduction to English Studies

Reading and writing in English, an introduction to the various sub-disciplines of English.

Section 01, MW at 9:35, Torri Thompson

Section 02, TR at 12:35, Carol Lind

In this course, we will explore the various areas of inquiry that fall under the umbrella of English Studies here at ISU. Through reading, writing, and hands-on activities, we will learn about the many ways in which the English Studies model enables us to negotiate meaning as creators and consumers of the written word. This course will be taught in conjunction with one of two special sections of ENG 101 (sections 52 and 60), designed exclusively for incoming English majors.

Section 03, MW at 2:35, Rhonda Nicol

Section 04, MW at 9:35, Rhonda Nicol

Section 07, TR at 3:35, Carol Lind

In this course, we will explore the various areas of inquiry that fall under the umbrella of English Studies here at ISU. Through reading, writing, and hands-on activities, we will learn about the many ways in which the English Studies model enables us to negotiate meaning as creators and consumers of the written word. This course will be taught in conjunction with one of two special sections of ENG 101 (sections 52 and 60), designed exclusively for incoming English majors.

ENG 101 Composition as Critical Inquiry (Sections 01-63)

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 52, MW at 3:35, Carol Lind

This section of English 101 is designed exclusively for incoming English majors, and will be taught in conjunction with English 100 (sections 2 and 7). In this course, we will explore the writing conventions and techniques that are specific to the discipline of English Studies, while we come to better understand the specialized vocabularies, conventions, styles, genres, uses of texts, and criteria of judgment that one would expect to find within the English Studies program here at Illinois State University.

Section 60, MW at 12:00, Carol Lind

This section of English 101 is designed exclusively for incoming English majors, and will be taught in conjunction with English 100 (sections 2 and 7). In this course, we will explore the writing conventions and techniques that are specific to the discipline of English Studies, while we come to better understand the specialized vocabularies, conventions, styles, genres, uses of texts, and criteria of judgment that one would expect to find within the English Studies program here at Illinois State University.

ENG 101.10 Composition as Critical Inquiry (Sections 01-12)

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.

ENG 102 Introduction to English Studies Proseminar

Section 01, M at 4:00, Mark Vegter

Section 02, M at 4:00, Ryan Gray

Section 03, T at 5:00, Mark Vegter

Section 04, W at 4:00, Mark Vegter

ENG 110 English Literature and Its Contexts

A historical study of the main movements in English literature. Readings of entire works representative of the movements.

Section 01, MW at 9:35, Brian Rejack

This historical survey of English literature investigates the changing function of literature in British society. To answer the question of why we read literature, we’ll see how the great writers of the English tradition have understood that slippery idea. Our interest will be both in how various writers understood the role of literary expression as it changes over centuries of new developments, and how we as readers conceive of the place that literature occupies in contemporary society. In a perhaps less traditional mode of literary history, we’ll consider not only the history of ideas, but also the history of objects that make literature possible. This is a course about books as cultural objects themselves, not just as carriers of culture. For example, when we start with Beowulf, we’ll analyze the poem and its transmission history through different material objects (beginning with the human body itself, as it ultimately arrives in the 21st century thanks to a chain of human voices eventually guiding it to a more permanent homes in manuscript, print, and now binary data). Similarly, the history of the English sonnet as an expression of modern individual subjectivity appears less straightforward when we understand it as a moment of new media innovation (before we could scatter our identities across Facebook and Twitter, we had to learn how to fragment them into 14-line poems contained in rather messy physical objects known as books!). Ultimately this course poses two questions: what are the purposes of the cultural expressions we’ve come to know as the literary, and how do those purposes relate to the physical objects that convey those expressions? We’ll attempt to answer those questions while tracking them over the course of about a thousand years of aesthetic production.

Section 02, MW at 1:00, Brian Rejack

This historical survey of English literature investigates the changing function of literature in British society. To answer the question of why we read literature, we’ll see how the great writers of the English tradition have understood that slippery idea. Our interest will be both in how various writers understood the role of literary expression as it changes over centuries of new developments, and how we as readers conceive of the place that literature occupies in contemporary society. In a perhaps less traditional mode of literary history, we’ll consider not only the history of ideas, but also the history of objects that make literature possible. This is a course about books as cultural objects themselves, not just as carriers of culture. For example, when we start with Beowulf, we’ll analyze the poem and its transmission history through different material objects (beginning with the human body itself, as it ultimately arrives in the 21st century thanks to a chain of human voices eventually guiding it to a more permanent homes in manuscript, print, and now binary data). Similarly, the history of the English sonnet as an expression of modern individual subjectivity appears less straightforward when we understand it as a moment of new media innovation (before we could scatter our identities across Facebook and Twitter, we had to learn how to fragment them into 14-line poems contained in rather messy physical objects known as books!). Ultimately this course poses two questions: what are the purposes of the cultural expressions we’ve come to know as the literary, and how do those purposes relate to the physical objects that convey those expressions? We’ll attempt to answer those questions while tracking them over the course of about a thousand years of aesthetic production.

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, MW at 11:35, Megan Gregory

Section 02, TR at 11:00, Niall Nance-Carroll

Section 03, TR at 3:35, Jamison Lee

Section 04, TR at 11:00, Chris Mays

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, TR at 12:35, William McBride

Genre:
Ramis-Caddyshack (1980) Screwball
Huston-Maltese Falcon (1941) Noir
Ford-Stagecoach (1939) Western
Hitchcock:
Notorious (1946)
Vertigo (1958)
Psycho (1960)
Stage to Screen:
Schlöndorff Death of a Salesman (1985)
Nichols Who's Afraid of Virginia Woolf? (1966)
Harvey Dutchman (1967)
Scorsese:
Taxi Driver (1976)
Life Lessons(1989)
Lynch:
Blue Velvet (1986)
Penn:
Into The Wild (2007)

Description
ENG 124 will be taught as a hybrid course, some classes face to face, others conducted online. 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.

Requirements
You must read carefully the Guide to Writing Papers before each paper is due.
-All work is to be composed and typed by the student directly into the message box
provided in ReggieNet--do not attach word files.
- A minimum of TEN Film Response and TEN Stylized Moments textbook postings
throughout the semester. 
-This course demands clear, coherent, well written and logically argued,
evidence-based theses. Grades based on each student's ability to accurately describe specific moments using technical language from the textbook and argue convincingly their meaning using consistent logic.

Section 02, TR at 2:00, Elizabeth Hatmaker

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, MWF at 9:00, Amy Hicks

Section 02, TR at 2:00, Susan Kalter

Section 03, TR at 11:00, Irina Nersessova

Section 04, TR at 3:35, Susan Kalter

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, MW at 12:35, Emily Johnston

Section 02, online, Adriana Gradea

Section 03, TR at 3:35, Paula Ressler

ENG 130 Survey of American Literature

A historical study of the main movements in American Literature. Readings of entire works representative of the movements will be included.

Section 01, TR at 12:35, Nancy McKinney

ENG 143 Unity and Diversity in Language

Introduction to the disciplined study of human language as it reflects human cognition, social relations, cultural conventions, and speech communities.

Section 01, TR at 9:35, Sarah Hercula

ENG 145 Writing in the Academic Disciplines (Sections 01-17)

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

ENG 145.12 Writing in the Academic Disciplines (Sections 01-H and 02-H)

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

ENG 145.13 Writing in the Academic Disciplines (Sections 02-09 and 11-14)

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

ENG 160 Introduction to Studies in Women's Writing

Readings in a variety of genres and historical periods.

Section 01, TR at 2:00, Paula Ressler

ENG 165 Introduction to African-American Literature and Culture

Selected topics in African-American literature and culture.

Section 01, MW at 11:00, Chamere Poole

ENG 170 Foundations in Literature for Children

Introduction to genres of children’s literature, including mythologies, fairy tales, picture books, poetry, and historical, multicultural, and current prose.

As the first course in the children’s literature sequence at Illinois State University, ENG 170, Foundations in Literature for Children, is designed to serve as a general introduction to literature for those students studying children’s literature.  The course covers K-8th grade literature. The primary goal of the course is for students to learn to read literature using children’s literature as texts.

The course focuses on children's  texts for pre-readers and young  readers, including picture books, chapters books, series books,  novels, poetry and nursery rhymes, folklore, mythologies, information  books and children's films at the K-8th grade level.  Texts covered in the class include both canonical and noncanonical texts, recognized and recent children's texts, with attention to classics and multicultural texts, both historical and contemporary.  Students in the class learn a range of conceptual materials as they are exposed to this wide variety of children’s texts, including how to analyze genre, narrative and poetic form, ideology and issues of social construction, and introductory literary concepts.

Individual instructors order different texts for the section they are assigned to teach.  Students enrolling in English 170  will generally be asked to purchase and read approximately 10-15 children's books for the course.  While assessments may vary from section to section of English 170, they will include written papers, oral participation, quizzes, and examinations.

Section 01, MWF at 8:00, Amy Hicks

Section 02, TR at 8:00, Elizabeth Williams

Section 03, MWF at 11:00, Beth Pearce

Section 04, MWF at 12:00, Meghann Meeusen

Section 05, MWF at 1:00, Beth Pearce

Section 06, TR at 3:35, Jordana Hall

Section 07, MW at 5:00, Lora Keller

ENG 201 Specialized Knowledge & Integrative Contexts in English Studies

Study of a specialized topic (a writer, a literary form, a concept in linguistics or in writing, etc) from several disciplinary perspectives within English Studies.

Section 01, MW at 9:35, Kathryn Kerr

While Environmental Literature and Ecocriticism are becoming popular at other universities, this is the first course offered to undergraduates at ISU.

Focusing on American literature, we will examine the influence of nature and the environment on poetry, fiction, and nonfiction, and finally examine the role of service writing, including environmental assessments, reports, and impact statements.

ENG 206 Cultural Expressions in Social Contexts: Women of Asia, Latin America and Africa

Interdisciplinary study of varieties of women's cultural expressions within distinct social contexts including comparitive emphasis on different regioins of concern.

Section 01, MW at 2:00, Rebecca Saunders

Section 02, MW at 3:35, Rebecca Saunders

ENG 218 Studies in the Victorian Period

Studies of texts from the 19th century.

Section 01, TR at 11:00, Cynthia Huff

ENG 222 Studies in Shakespeare

Selected readings with emphasis on the relationship between the author, the text, and the larger culture.

Section 01, MW at 1:00, Torri Thompson

ENG 227 Introduction to Creative Writing

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

Section 01, TR at 9:35, Francesco Levato

Section 02, MW at 11:00, Erin Kilian

Section 03, TR at 11:00, Brian Hedgepeth

Section 04, TR at 12:35, Caitlin Alvarez

Section 05, MW at 2:00, Duriel Harris

Section 06, TR at 2:00, Summer Qabazard

Section 07, MW at 3:35, Duriel Harris

ENG 229 Introduction to Literary Genres

Formal and historical study of literary genres—poetry, drama, prose narrative—as structures of knowledge. Not for credit Major.

Section 01, TR at 12:35, Stacy Greathouse

Section 02, MW at 2:30, Joe Amato

ENG 236 American Literature: 1945-Present

Present-day trends in American Literature.

Section 01, MW at 4:00, Chris Breu

This course will introduce students to a diverse array of literature produced within the United States since the end of World War II. Because this period is a particularly rich one, characterized by literary experimentation, the entry into the fictional mainstream of writers of color, and a vital and varied popular culture, the course will touch on each of these developments, particularly as they overlap. The course will also serve as an introduction to postmodernism as an artistic aesthetic, as a historical period, as a body of theory, and as a contested analytical category. Accordingly we will read a number of classic essays on postmodernism as well as contemporary reassessments of the concept and attend to the ways in which the literature we read corresponds to or contradicts the arguments advanced by the essays. The course will also pose the question as to whether the postmodern aesthetic can be theorized as unified, whether there are opposing or even multiple postmodern aesthetics, or whether the whole concept of postmodernism represents an analytic mistake. It will also address the question of whether we are still living in a postmodern era. The writers covered in the course include Jack Kerouac, Joan Didion, Thomas Pynchon, Samuel R. Delany, Don DeLillo, Toni Morrison, Karen Yamashita, and Alison Bechdel.

ENG 239 Multimodal Composition

Workshop emphasizing rhetorical analysis and composition of digital texts in a variety of modes including graphics, typography, audio, video, animation. May be repeated; maximum 6 hours.

Section 01, MW at 2:00, Kristi McDuffie

ENG 241 Growth and Structure of the English Language

An introduction to the history of English designed to help students understand language change and the emergence of contemporary English.

Section 01, TR at 3:35, Susan Kim and K. Aaron Smith

ENG 243 The Grammatical Structure of English

Linguistic description of present day American English, focusing on morphology and syntax.

Section 01, TR at 2:00, Megan Gregory

Section 02, TR at 3:35, Sarah Hercula

ENG 244 Applied Grammar and Usage for Writers

Traditional, structural, and transformational grammars applied to needs of writers. Choosing among alternative grammatical strategies.

Section 01, MW at 10:00, Tim Hunt

ENG 246 Advanced Composition

Extensive writing of essays developed in greater depth and sophistication in subject matter than those written in previous writing courses. Computer-assisted.

Section 01, TR at 9:35, Bob Broad

Section 02, TR at 11:00, Bob Broad

Section 03, MW at 4:00, Rebecca Anderson

Section 04, TR at 3:35, Chris Mays

ENG 247.01 Intermediate Creative Writing: Poetry

Workshop in the genre, with critical examination of its conventions.

Section 01, TR at 2:00, Gabe Gudding

ENG 247.02 Intermediate Creative Writing: Fiction

Workshop in the genre, with critical examination of its conventions.

Section 01, TR at 12:35, Ryan Edel

Section 02, MW at 2:00, Kass Fleisher

ENG 247.03 Intermediate Creative Writing: Creative Non-Fiction

Workshop in the genre, with critical examination of its conventions.

Section 01, MW at 1:00, Joe Amato

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, MWF at 9:00, Arwa Malaibari

Section 02, TR at 9:35, Elise Hurley

This course introduces students to key concepts and practices of technical and professional writing. Students will learn project development and management, field research, document design and visual rhetoric, professional editing, and usability testing. Students will plan and create a range of individual and collaborative projects including, but not limited to, technical documentation, proposals, reports, brochures, press/media kits, websites, and others. Students can expect to engage in reading discussions, daily assignments, on- and off-campus research, technology use, and oral reports. NOTE: This section will have a service-learning component.

Course goals include:

• Understanding the role(s) of professional and technical writers through contextual research and analysis
• Collaborating with colleagues in self-directed project teams
• Analyzing rhetorical situations and responding to them through writing
• Establishing a client-consultant relationship with a partnering organization to complete projects for the course
• Using technology to plan, develop, and support individual and collaborative projects
• Establishing writing expertise in a range of genres
• Considering design and usability as a significant component of project development

Section 03, MWF at 10:00, Rob Rowan

Section 04, MW at 2:00, Barbi Smyser-Fauble

Section 05, MW at 3:35, Flourice Richardson

ENG 250 Literature of the Bible 1

Major ideas and literary forms of the Hebrew Bible/Christian Old Testament.

Section 01, MW at 2:00, Jan Neuleib

REQUIRED TEXTBOOKS:
At least one translation of the Old Testament/Hebrew Scriptures
Access to other translations on line or in libraries
DESCRIPTION OF COURSE:
The literature of the Bible divides into many different genres across many centuries. In this course, we will investigate the ways that the genres vary and the ways that understanding the rhetorical position of the text helps to enhance the stories, history, poetry, and songs. The range of types of literature in the Old Testament or Hebrew Scriptures is wide and complex. We will read these texts in the forms and the manners intended and indicated by the genres. We will also look at the ways that these various pieces of literature have influenced story telling and lyrical presentation throughout the history of literature. We will look also at the representations in current literature that owe much to these earlier works, often without specific references in the revised versions of the stories and lyrics. Be prepared to enjoy the literature and history, but be prepared to be a bit shocked as well. In case you have not read them, you will find that some of these stories are definitely not PG rated.

FORMAT OF COURSE:
Class interactions include collaborative activities designed to integrate your understanding of the works with your existing knowledge.  In-class writings in response to readings will direct our discussions.  You will present your final paper (or other type of project) to the class and evaluation of your work will involve three major components:
1.  A reading log, including comments on your reading, our class discussions, research for your paper/project, questions for me, and beginnings of drafts.)
2.  Your paper/research project (10-15 pages), proposal due mid-October (or sooner, I’ll assume that you are writing about ideas in your journal entries).   
3. Presentations will be in November and December with final project due the last day of class.

ENG 254 Introduction to Professional Publishing

Study and practice of editorial, production, printing, and marketing processes involved with producing a book or journal.

Section 01, T at 1:00, Steve Halle

IDS 254 Religions and Cultures

A critical examination of diverse religious discourses and literacies and how they construct and reflect identity based on cultural differences. May not be taken under the CT/NC option.

Section 01, TR at 12:35, Gabe Gudding

Section 02, MW at 11:35, John MacLean

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ENG 261 Women's Literature in a Global Context

Section 01, TR at 9:35, Cynthia Huff

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, TR at 8:35, Jan Susina

Required Texts: (Tentative)

M.C. Waldrep, ed. Favorite Fairy Tales. Dover.
Hans Christian Andersen. The Little Mermaid and Other Fairy Tales. Dover.
Jon Scieszka and Lane Smith. The True Story of the Three Little Pigs By A Wolf. Puffin.
Aesop.  The Fables of Aesop. Joseph Jacobs, ed. Dover.
Ingri and Edgar Parin d’Aularie.  D’Aularies’ Book of Greek Myths. Delcorte Books.
E. F. Bleiler, ed. Mother Goose's Melodies. Dover.
Beatrix Potter. The Complete Adventures of Peter Rabbit. Viking.
Margaret Wise Brown. Goodnight Moon. Harper Collins.
Crockett Johnson. Harold and the Purple Crayon. Harper Collins.
Dr. Seuss. The Cat in the Hat. Random House.
Arnold Lobel.  Frog and Toad Are Friends. Harper Trophy.
Maurice Sendak. Where the Wild Things Are. Harper Trophy.
David Macaulay. Pyramid. Houghton Mifflin: Sandpiper.
Arnold Lobel.  Frog and Toad Are Friends. Harper Trophy.
A.A. Milne. Winnie-the-Pooh. Puffin: Sandpiper.
Beverly Cleary. Ramona the Brave. Dell Yearling.
Molly Bang. Picture This: How Pictures Work. Chronicle Books.

Course Description:
This is a course in children's literature that will focus on texts that appropriate for readers and pre-readers from age five to nine.  The course will examine wide variety of children’s texts including fairy tales, fables, myths, pictures books, nursery rhymes and poetry, music and television program for young children.  The focus attempt to understand how children understand these texts and how this children's book help to express and confirm certain ideologies and beliefs concerning children and childhood.

Format of Course:
Each student in the course will write a research paper (7-10 page) on a children's picture book and a short paper (3 page) on a children's film.   During the semester, there will be a series short in-class and homework assignments linked to the reading assignments. There will be a midterm and a final exam. Regular attendance and active participation in class discussion is required

Section 02, TR at 11:00, Jan Susina

Required Texts: (Tentative)

M.C. Waldrep, ed. Favorite Fairy Tales. Dover.
Hans Christian Andersen. The Little Mermaid and Other Fairy Tales. Dover.
Jon Scieszka and Lane Smith. The True Story of the Three Little Pigs By A Wolf. Puffin.
Aesop.  The Fables of Aesop. Joseph Jacobs, ed. Dover.
Ingri and Edgar Parin d’Aularie.  D’Aularies’ Book of Greek Myths. Delcorte Books.
E. F. Bleiler, ed. Mother Goose's Melodies. Dover.
Beatrix Potter. The Complete Adventures of Peter Rabbit. Viking.
Margaret Wise Brown. Goodnight Moon. Harper Collins.
Crockett Johnson. Harold and the Purple Crayon. Harper Collins.
Dr. Seuss. The Cat in the Hat. Random House.
Arnold Lobel.  Frog and Toad Are Friends. Harper Trophy.
Maurice Sendak. Where the Wild Things Are. Harper Trophy.
David Macaulay. Pyramid. Houghton Mifflin: Sandpiper.
Arnold Lobel.  Frog and Toad Are Friends. Harper Trophy.
A.A. Milne. Winnie-the-Pooh. Puffin: Sandpiper.
Beverly Cleary. Ramona the Brave. Dell Yearling.
Molly Bang. Picture This: How Pictures Work. Chronicle Books.

Course Description:
This is a course in children's literature that will focus on texts that appropriate for readers and pre-readers from age five to nine.  The course will examine wide variety of children’s texts including fairy tales, fables, myths, pictures books, nursery rhymes and poetry, music and television program for young children.  The focus attempt to understand how children understand these texts and how this children's book help to express and confirm certain ideologies and beliefs concerning children and childhood.

Format of Course:
Each student in the course will write a research paper (7-10 page) on a children's picture book and a short paper (3 page) on a children's film.   During the semester, there will be a series short in-class and homework assignments linked to the reading assignments. There will be a midterm and a final exam. Regular attendance and active participation in class discussion is required

Section 03, MW at 4:00, Emily Woster

ENG 272 Literature for Young Children

Analysis of works written for children ages 9 to 13, including multicultural novels and information books, children’s media, and culture. Does not repeat material of ENG 170.

Section 01, TR at 9:35, Roberta Trites

Section 02, MW at 4:00, Mary Moran

This course focuses on literature written for and read by children between ages 9 and 13. While most young people still have a close connection to their families at this period in their development, they are also beginning to make stronger connections outside the family, both with individuals and communities. As we read texts from a variety of subgenres and time periods, we’ll consider some of these questions: How do these texts define family? What roles do the protagonists play in their families? How do children and adults interact within the family? What are the connections and tensions between the family and the larger society? To what extent can people choose their families? Depending on students’ interests, we may also discuss issues such as narrative voice, gender, class, race, and ideology. Most of our classes will be devoted to discussion, though we will also use class time for writing and for peer workshopping. In addition to thoughtful and interactive participation, your responsibilities include three papers, leading discussion with prepared discussion questions once during the semester, reading quizzes, and peer workshops.

Section 03, TR at 3:35, Roberta Trites

ENG 283 Rhetorical Theory and Applications

Critical and analytical examination of the nature and historical development of rhetorical theory and its applications to contemporary discourse.

Section 01, MW at 11:30, Lisa Phillips

Section 02, TR at 2:00, Amy Robillard

Section 03, TR at 3:35, Amy Robillard

ENG 284 Poetry

Critical and analytical examination of the nature and historical development of poetry.

Section 01, MW at 4:00, Joe Amato

Section 02, TR at 2:00, Kathryn Kerr

ENG 286 Prose

Critical and analytical examination of the nature and historical development of prose literature—fiction and non-fiction.

Section 02, MW at 1:00, Rhonda Nicol

ENG 287 Independent Study

Section 01, ARR

ENG 289.30 Introduction to English Education

This course is designed to introduce students to foundational concepts and issues associated with the teaching of high school English in diverse settings.

Section 01, TR at 11:00, Sarah Hochstetler

Section 02, TR at 3:35, Sarah Hochstetler

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, TR at 12:35, Eileen Bularzik

ENG 295 Teaching Literature and Writing in the Middle School

Surveys recent scholarship on composition and literary theory and examines implications for teaching literature and writing at the middle school level.

Section 01, TR at 3:35, Eileen Bularzik

ENG 296 The Teaching of Literature

Examines current scholarship in the teaching of literature at the secondary level; integrates theories of teaching literature with teaching practice. Includes Clinical Experiences: 10 hours, Type 1-5 and 9.

Section 01, TR at 9:35, Lisa Thetard

"It is not enough to simply teach children to read: we have to give them something worth reading. Something that will stretch their imaginations - something that will help them make sense of their own lives and encourage them to reach out toward people whose lives are quite different from their own." Katherine Patterson

This course focuses on teaching literature as part of an integrated English Language Arts curriculum that supports adolescents' development of multiple literacies. Methods addressed in the course include instructional practices that support decoding, comprehending, and evaluating multimodal texts of increasing difficulty and complexity. Key assignments in the course include strategy-based interventions to support reading development, as well as thematic and multi-genre literature units. The use of essential questions as a frame for the design of inquiry-based lessons and units will be a predominant focus.

Section 02, TR at 11:00, Lisa Thetard

"It is not enough to simply teach children to read: we have to give them something worth reading. Something that will stretch their imaginations - something that will help them make sense of their own lives and encourage them to reach out toward people whose lives are quite different from their own." Katherine Patterson

This course focuses on teaching literature as part of an integrated English Language Arts curriculum that supports adolescents' development of multiple literacies. Methods addressed in the course include instructional practices that support decoding, comprehending, and evaluating multimodal texts of increasing difficulty and complexity. Key assignments in the course include strategy-based interventions to support reading development, as well as thematic and multi-genre literature units. The use of essential questions as a frame for the design of inquiry-based lessons and units will be a predominant focus.

ENG 297 The Teaching of Writing

Examines current scholarship in the teaching of writing at the secondary level; integrates theories of teaching writing with teaching practice. Includes Clinical Experiences: 26 hours, Type 1-5 and 9.

Section 01, TR at 2:00, Sarah Hochstetler

Section 02, TR at 12:35, Linda Lienhart

This course examines current scholarship in the teaching of writing at the secondary level.  It integrates theories of teaching writing with teaching practice.  This course will focus specifically on methods and strategies for guiding high school students at all ability levels to think critically, use logic, and write clear, concise, and eloquent prose.

ENG 299 Independent Honors Study

Section 01, Arrange

ENG 300 Senior Seminar

Capstone course for English majors, synthesizing the main dimensions of English studies. Requires senior project and portfolio.

Section 01, MW at 10:00, Julie Jung

Section 02, TR at 9:35, Robert McLaughlin

As the capstone course to the English major, this course will give you the opportunity to look back at what you’ve accomplished in your coursework and to look forward to how your work will be manifested in your life after graduation.  To help with the former, you will compile a portfolio of your work in the major.  To help with the latter, you will complete a senior project of your own design.

In addition, the course will focus on ways of knowing in English Studies.  In this pursuit, we will read and discuss a number of essays in literary and cultural theory and a couple of really good novels: Salman Rushdie’s The Satanic Verses and Jasper Fforde’s The Eyre Affair.

Section 03, MW at 1:00, Julie Jung

Section 04, TR at 2:00, Hilary Justice

This capstone course provides students with the opportunity simultaneously to synthesize their English Studies backgrounds and to be, once more, beginners. By engaging in a semester-long case study of Ernest Hemingway's early writing process, the course will consider questions of identity, normativity, locality, and the creative process using the methodology of textual studies (i.e., working with pre-publication drafts and documents). This course is taught as a quasi-graduate seminar in which the relatively few pages of reading belie the depth and breadth of related inquiry. By the end of the semester, students will have developed the technical ability to work with primary archival documents and a thorough fluency in a finite area of contemporary critical discourse, and will present their work in a full-length critical statement that combines archival work, critical and theoretical inquiry, most importantly, personal curiosity.

Section 05, TR at 3:35, Hilary Justice

This capstone course provides students with the opportunity simultaneously to synthesize their English Studies backgrounds and to be, once more, beginners. By engaging in a semester-long case study of Ernest Hemingway's early writing process, the course will consider questions of identity, normativity, locality, and the creative process using the methodology of textual studies (i.e., working with pre-publication drafts and documents). This course is taught as a quasi-graduate seminar in which the relatively few pages of reading belie the depth and breadth of related inquiry. By the end of the semester, students will have developed the technical ability to work with primary archival documents and a thorough fluency in a finite area of contemporary critical discourse, and will present their work in a full-length critical statement that combines archival work, critical and theoretical inquiry, most importantly, personal curiosity.

ENG 311 Introduction to Old English Language and Literature

Elements of Old English grammar, with selected readings in Old English literature.

Section 01, TR at 2:00, Susan Kim

This wood has come to remind you of the hands that carved it”
Introduction to Old English

REQUIRED TEXTBOOKS:
Mitchell, Bruce, and Fred C. Robinson. A Guide to Old English . 7th ed. Oxford: Blackwell, 2009.
Sweet's Anglo-Saxon Primer . Rev. Norman Davis. 9th ed. Oxford: The Clarendon Press, 1986.
Raffel, Burton , trans. Poems and Prose from the Old English . New Haven: Yale University Press, 1999.
R. M. Liuzza, trans. Beowulf: A New Verse Translation . Orchard Park: Broadview, 2000.
Yorke, Barbara. The Anglo-Saxons. Phoenix Mill: Alan Sutton, 2000.

DESCRIPTION OF COURSE:

This class is an introduction to the language and literature of England from around the 8th to the end of the 11th century. Because this is in part a language class, we will spend at least half of our class time (and probably more than half of the preparation time) studying the grammar of Old English. Though the possibility exists, I cannot promise that this aspect of the class work will be riotously entertaining. However, learning to read the language teaches us not only about the language and culture of the Anglo-Saxons, but also about our own language and culture, and our own interpretive processes: it also provides access to the oldest literature in English, literature, in my estimation, that nothing that came afterwards could ever match.

In addition to our work with the language, we will also read, in Present Day English translation, Old English texts ranging from the early laws to the lives of the saints, from heroic and elegiac poetry to the sometimes extremely obscene riddles. We will begin to read and examine Old English texts in their manuscript form: this means we will study how to read Anglo-Saxon scribal hands, as well as consider the interaction between visual and textual representation so significant to the interpretation of early manuscripts. Finally, because Old English literary culture was in transition from orality to literacy, and the art of memory (much of it now lost) was integral to the transmission of its texts, recitations from memory will be part of the work of this class. As we memorize, recite, and listen to these texts, we will also consider the ways in which the transmission of literature through memory, rather than writing, asks us to re-think questions about the relationship of embodiment to linguistic performance, about the contemporary notion of the solitude of reading, and about what might be gained, and lost, in the transition to the literacies of today.

FORMAT OF COURSE:

This course will be in part a language course. As such it will involve translation, language drills, and repetition. This course will also be in part a literature course and a seminar. As such it will be an ongoing and evolving conversation about the texts and contexts. Active and informed participation is a requirement for a passing grade in this course.

ENG 328 Modern Drama

20th century drama written in English and related criticism.

Section 01, TR at 11:00, Bill McBride

The Dialectic

Required Texts (some are digitized)
Shaw.  Major Barbara [1905] 
O’Neill.  The Iceman Cometh [1939. 1946]
Williams.  A Streetcar Named Desire [1947]  
Miller.  Death of a Salesman (1949)
Albee. Who’s Afraid of Virginia Woolf? [1962]
Jones/Baraka.    The Dutchman [1964] & The Revolutionary Theater (1966)
Wilson. The Rimers of Eldritch [1967]
Crowley.  Boys in the Band [1968]   
Beckett. Not I [1972] Pas Moi 
Shepard. True West [1980]
Kushner.Angels in America: Millenium Approaches [1991]
Parker, Lopez, Stone. The Book of Mormon [2011]

THEORISTS CONSULTED:
Brecht, Brooks, Artaud, Esslin, Miller, Marx, Kott, Freud, Jones/Baraka, Aristotle, Nietzsche, Case, Deleuze/Guattari and others.

Description of Course
Stage & Page. We will attend to performance as inextricable from text.  The course poses the following binary: Does art provide instances of liberation or containment? We'll test the assumption that the theatrical spectacle has the potential to critique the larger spectacle of patriarchy, sexism/heterosexism, orthodox religion, racism, capitalism, militarism, and other politically correct concerns, etc. by reading the structure and effects, obsessions and pleasures, successes and failures of more than a dozen plays and attendant critical theory. To that end both "traditional" and "contestatory" texts are represented--categories we'll put into question as well. Consider ENG 328 as an intensive introduction to, dialectical analysis and immersion in the nature of British and American Modern/Postmodern drama in many of its forms ranging from Realist/Naturalist, Avant-Garde, Modernist-Absurdist, Feminist, Postmodern, Queer, and contemporary performance art. We will attend at least one performance as a class.  Screenings of selected other plays will be scheduled/negotiated in class.

Format of Course:
All students will:
1. Post weekly responses (500 word minimum) to readings/lectures/discussion in ReggieNet due each Thursday 11:59pm;
2. Prepare and when called upon give an analysis of a passage from each week's play;
3. Compose a short interpretive essay on one of the plays scheduled during the first 6 weeks (Grads 1800 words min/Undergrads 1300 words min.)
4. A written proposal of the final research project
5.A final research paper on "drama" and performance (with an eye toward publication) 2500 words (minimum) for undergraduates and 3500 words (minimum) for graduate students
I reserve the right to amend this syllabus. Students may not choose those assignments (regardless of the point value) they wish to complete.

Grade evaluation will be determined by satisfying #s 1-5 and the student's ability to synthesize one or more of the theoretical approaches presented in readings and lectures, and apply such a perspective to a cultural "text" or "site" in a well-written, coherent final essay.

Grading Formula
26 points Weekly posts/writing assignment
14 points Class Participation
25 points Essay #1
35 points Research paper

ENG 329 Selected Figures in English Literature

Topics in specific literary figures, genres, or movements.

Section 01, MW at 3:35, Brian Rejack

Selected Figures in English Literature: The Cult of John Keats

John Keats lived a scant 25 years, and he wrote poetry during only 5 of them, but his legacy has endured and his reputation as a poet increased fairly consistently since his early death. What is it that makes Keats so ardently admired by his readers, and particularly by other writers and artists? Keats was a key figure for the Pre-Raphaelite movement in the mid-nineteenth century, as well as for Aestheticism at century’s end. His work inspired dozens of poetic tributes, including perhaps the earliest and most famous example, Percy Bysshe Shelley’s Adonais, published just months after Keats’s death. In recent years he’s become the subject of a biopic (Bright Star), and even features in a four-book science fiction saga by Dan Simmons, wherein a cyborg Keats reassembled from the poet’s DNA becomes perhaps the nerdiest of all literary tributes to the poet.

This course will assess Keats’s status as a cultural and literary figure beginning with the milieu in which he lived and wrote. Far from the image of Keats as a solitary dreamer apart from the concerns of the world, as he often gets portrayed, the Keats of 1815 to 1821 was part of a radical group of writers and thinkers deeply and communally engaged with reimagining the world after it had been fundamentally altered by the tumult of revolutionary France and the Napoleonic Wars. We’ll move from that Keats to the one enshrined as a victim of fate and literary squabbles in the decades following his death, then to his various influences on Christina and Dante Gabriel Rossetti, William Morris, Tennyson, Oscar Wilde and other later nineteenth century writers, and finally to 20th and 21st century incarnations of Keats. Our investigations will query such issues as, the relationship between the poet’s life and work, the nature of literary influence, the role of “fandom” in literary criticism, the interrelation of literary and other arts, and, perhaps most crucially, the worth of aesthetics, or why and how it matters that “A thing of beauty is a joy for ever,” as Keats asserted and as so many of his later devotees repeated.

Our readings will include lots of poems by Keats, lots of letters by Keats, fewer poems by other nineteenth- and twentieth-century writers, paintings by the Pre-Raphaelites, two experimental modern biographies of Keats, and critical and theoretical scholarship on all of the former categories. 

ENG 341 Introduction to Descriptive Linguistics

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

Section 01, TR at 2:00, TBA

ENG 345 Tesol Methods and Materials

Methodologies and techniques for teaching English as a Second Language; evaluation of materials for various levels and instructional goals.  Includes clinical experience.

Section 01, T at 3:35, Lisya Seloni

Section 02, M at 4:00, Lisya Seloni

ENG 346 Testing in ESL

Assessing oral and written proficiency in English as a Second Language.

Section 01, MW at 2:30, Hyun-Sook Kang

COURSE DESCRIPTION
This course will provide an introduction to basic principles and current and innovative approaches in the assessment and testing of English as a second or foreign language in various instructional contexts. We will be familiar with the various options we have for preparing or adapting tests, and to understand test construction as a process, which is woven into the fabric of curriculum development and classroom instruction. Once we have discussed a model for the process of test construction, we will apply this knowledge to evaluating currently available tests and further relate language testing to educational and social policies. The procedure of test preparation, administration, rating and interpretation, and the use of computer technology in language testing will be addressed.

Section 02, W at 4:00, Hyun-Sook Kang

COURSE DESCRIPTION
This course will provide an introduction to basic principles and current and innovative approaches in the assessment and testing of English as a second or foreign language in various instructional contexts. We will be familiar with the various options we have for preparing or adapting tests, and to understand test construction as a process, which is woven into the fabric of curriculum development and classroom instruction. Once we have discussed a model for the process of test construction, we will apply this knowledge to evaluating currently available tests and further relate language testing to educational and social policies. The procedure of test preparation, administration, rating and interpretation, and the use of computer technology in language testing will be addressed.

ENG 347.01 Advanced Creative Writing - Poetry

Workshop format for individual projects; related theory.

Section 01, T at 5:30, Duriel Harris

Functioning as both seminar and workshop, this iteration of English 347:01 “Advanced Creative Writing: Poetry” will focus on experiment and the dynamics of performance and discovery in the generation of new print & audio work.  Assigned materials will include poetry (print, audio, and video/multimedia sources) and essays on contemporary issues in poetry and poetics.  The workshop will regularly provide space for critique of original student poems, collaboration, and experiment.  All students will complete a portfolio of finished poems and will present their work in a public reading.

ENG 347.02 Advanced Creative Writing - Prose

Workshop format for individual projects; related theory.

Section 01, MW at 3:35, Kass Fleisher

ENG 349 Technical Writing II

Instruction and practice in editing, proposals, and analytical writing; attention given to style manuals, research writing, and (as needed) publication. Computer-assisted.

Section 01, TR at 11:00, Angela Haas

ENG 349 engages and promotes diverse creative and critical ways for thinking about and communicating in a variety of global and local workplaces and spaces. Although the course title suggests that we will be focusing on technical *writing*, we will study and develop a variety of "texts"—print, digital, visual, verbal, and audio/video—and examine how they communicate knowledge, values, and action in a variety of social, cultural, and organizational professional contexts. Consequently, this course introduces rhetorical concepts, like appeals, purpose, audience, style, organization, etc, and asks you to consider them in relation to cultural and ethical frameworks and professional and technical communication genres and conventions. 

The primary goals of ENG 349 are to:
*  Interrogate what "professional” and “technical” communication means, what professional/technical communicators do, and how professional/technical communicators work
*  Introduce and engage the rhetorical principles, professional practices, research skills, and cultural considerations you will need as a professional/technical communicator
*  Interrogate the relationships between power, actors, and organizational and technological networks what these relationships mean for your communication agency in workplace contexts
*  Interrogate the relationships between culture, community, communication, and technology and what these relationships mean for your communication practices
*  Promote an understanding of professional and technical communication as ethical action
*  Develop the project management strategies and skills required of professional and technical communicators
*  Encourage responsible teamwork and collaboration skills, by providing a set of shared, hands-on learning experiences with your classmates.
 
Ultimately, by engaging rhetorical and professional communication theories and practices, this course offers you the opportunity to learn more about the field(s) of professional and technical communication, to experience the various roles and work of professional and technical communicators, and to further develop and hone your skills in research, analysis, persuasion, documentation, and document design within the contexts of invented and "real world" professional spaces.

ENG 350 Visible Rhetoric

Document design as a rhetorical activity and the application of theories of visible rhetoric to document production. Computer assisted.

Section 1, TR at 2:00, Elise Hurley

ENG 351 Hypertext

Workshop using digital technologies to compose complex, multimodal, web-based texts for a variety of rhetorical situations. Computer-assisted.

Section 01,  MWF at 11:00, Jim Kalmbach

Hypertext to me mean means nonlinear reading and writing. Over the years, students and I have explored this non-linearity in a variety of forms. Most recently, the class has taken on a distinctly web 2.0 turn. In particular, we will look at the impact of template culture on reading and writing, that is how templates are shaping people’s reading and writing on the web, and what you can do to critically resist that shaping.

We explore these ideas through readings and responses and through a series of projects. Students first create a web site with a content management system--WordPress and then recreate that website in Dreamweaver. Students then, as a final project, complete a major web publishing project in any area of web culture that interests them using any method of production.

Graduate students in the class complete an additional project, and I offer a good deal of flexibility in shaping that project to fit there interests and program.

Textbooks
Beaird, Jason. (2007). The Principles of Beautiful Web Design. Sitepoint, ISBN 098057689X Redish, Ginny. (2007). Letting Go of the Words. Morgan Kaufman. ISBN 0123694868 Lessig Laurence. Remix. Penguin ISBN 0143116134

ENG 353 Technical Editing

Theory and practice of editing and management of documentation in industry and other organizational settings.  Computer assisted.

Section 1, TR at 12:35, Lee Brasseur

Technical Editing is a course that introduces students to the theories, principles and practices of editing technical and professional documents. Students will learn about the editing process, as well as how to define an editor's responsibilities and revise at both structural and sentence levels, while also addressing stylistic conventions of different fields. The class is designed to meet the needs of a variety of students in different concentrations but it is a technical editing course.
In the class our focus will be on the role of the editor in organizational settings, which we will explore both theoretically and practically. We will rely on one or two editing textbooks, as well as the Chicago Manual of Style, as we work with paper-based, online and digital editing of both visual and verbal texts.
 On a practical level we will learn the common methods of copymarking documents within professional and organization settings and how to distinguish between grammatical and stylistic emendations as we study the principles of contextual editing and editorial activities.  In addition, we will explore different methods for analyzing, critiquing, and revising manuscripts for different audiences and understand how to create successful writer/editor dialogue. We will also review the most common writing errors to increase our mastery of grammar, mechanics, punctuation, and spelling. Finally, we will explore the theoretical implications of culture and technology in the editing process.

Required Texts:

1.  Chicago Manual of Style, 16th Edition book or online subscription (Univ. of Chicago)
2.  Technical Editing, 5th Edition by Carolyn Rude and Angela Eaton (Allyn & Bacon)
3. Subversive Copy Editor: Advice from Chicago (or, How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself) by Carol Fisher Saller.  Univ. of Chicago Press.

ENG 354 Literary Publishing in Theory and Practice

Focus on issues that have shaped contemporary literary publishing.

Section 1, TR at 11:00, Robert McLaughlin

This course will examine the field of literary publishing in the United States as a mechanism of mediation between authors and readers.  The focus will be on the history of publishing with special emphasis on how changing technology has reframed a set of ongoing issues (risk of publication, copyright, censorship, marketing, distribution, and so on).  We will also examine some case studies in the relationship among author, text, and editor.

Class meetings will be discussion-based.  Each student will participate in a collaborative research presentation.  There will be four three-page essays and one research-based essay.

Texts I anticipate using include:

Nicole Howard, The Book: The Life Story of a Technology
Eugene Exman, The House of Harper
Siva Vaidhyanathan, Copyrights and Copywrongs
Tod Striphas, The Late Age of Print
John B. Thompson, Merchants of Culture
Kalpanik S., Inside the Giant Machine

ENG 355 Forensic Bibliography and Archival Editing

History of print culture from orality to digital text; introduction to principles and practices of bibliographic investigation and scholarly editing.

Section 1, TR at 9:35, Katherine Ellison

In this course, students will become investigators. ENG 355 will engage in the study of books as physical objects and of the details of their production and consumption within specific historical contexts. At once an historical and theoretical survey of manuscript, print, and digital cultures and a hands-on practicum in historical bibliography, analytical bibliography, and the scholarly editing of artifacts for both print and digital media, the course will introduce students to the terminology and methodologies of bibliographers and editors. We will pay close attention to the material and institutional conditions of Medieval manuscript production, to the economic and technological conditions of print shops and bookselling from the 16th through the 19th centuries, including considerations of licensing and copyright laws, and to the range of forensic strategies bibliographers must use to understand the textual productions of those periods. These strategies will include forensic ink and paper examination, knowledge of print types, typographical and handwriting analysis, and attention to paratextualities.

Case studies will include the Nowell Codex, in which Beowulf appears, the printing and circulation of Christopher Columbus’s letter to the King and Queen of Spain, the printing and consumerism of Shakespeare’s sonnets, the Pamela Controversy, Horace Walpole’s private press at his gothic Strawberry Hill mansion, the production history of William Wordsworth’s poetry as adapted from his sister, Dorothy’s, diary, the impact of Edgar Allan Poe on 19th-century American printing, and the current state of ebook and tablet publishing.  Finally, students will be introduced to a brief post-1980s history of digital coding and bibliographical software and gain a foundation in the best practices of the Text Encoding Initiative (TEI). Requirements will include demonstration of bibliographical knowledge and methodologies and a digital editing project using the Early English Books Online database.

ENG 357 Theories of Creative Writing Genesis

Survey of theories creative writers explicitly and implicitly employ and consider.  Includes editing, analysis, and writing of creative and theoretical texts.

Section 1, TR at 3:35, Gabe Gudding

ENG 360 Studies in Women Writing

Studies in literature and theories of women's writing.

Section 1, W at 2:00, Cynthia Huff

REQUIRED TEXTBOOKS:

Fuchs & Howes, Teaching Life Writing Texts
Carolina Maria de Jesus, Child of the Dark
Herculine Barbin, Herculine Barbin (diary)
Gloria Anzaldúa, Borderlands/La Frontera
Mary Gordon, The Shadow Man
Anne Moody, Coming of Age in Mississippi
Marjane Satrapi, Persepolis

DESCRIPTION OF COURSE:

This course focuses on the diversity of women's autobiographical expression historically, cross-culturally, and generically. We'll interrogate the similarities/differences between types of life writing discourse such as diaries, essays, testimonio, graphic life writing and historical/cultural narrative, and ask how the assumed/implied audience, the historical period, multiple voices, the geographical location, as well as issues of race, class, age, ability, sexual orientation, and relationship affect women's autobiographical acts. We'll question whether the term autobiography fits women's practices, consider if the term life writing is more appropriate, and discuss what distinctions between autobiography and biography or literature seem meaningful.

Because life writing extends across the boundaries of English Studies as well as transgresses the boundaries of other disciplines to include art, history, and psychology, for example, it’s ideal for thinking about how and why we read texts and considering teaching strategies. This course will ask how reading a variety of women’s life writing texts helps us learn about ourselves as critical consumers and about others’ lives, and suggest some strategies for  how to teach life writing. This course is ideal for anyone who ever wanted to think about how his/her life might be written, to investigate how different women have written their lives, to explore how you might convey the dynamics of a life to anyone who wants to think about how important living a life is.

Because a major component of the course is pedagogical, it fulfills the pedagogy requirement for graduate students. Because of its emphasis on teaching, it is also ideal for undergraduate education majors. It also is an elective for the Women and Gender Studies minor.

This course is interdisciplinary in nature and would benefit rhetoric, writing studies, linguistics, creative writing, and technical communications specialists.

FORMAT OF COURSE:

The class will be primarily discussion with background material supplied when necessary. There may be pop quizzes from time to time. Each of you will keep your own course autobiography in which you'll situate yourself in relationship to four of the major texts we read, as well as comment on what life writing questions/issues that major text suggests and how these might illuminate pedagogy. Each entry should be 1-2 typed whole pages; a Works Cited page is required but may not be counted in the total number of pages; entries on earlier texts cannot be turned in after a course autobiography due date has passed. A research paper of 15-20 typed whole pages illuminating a text or life writing aspect perhaps suggested by your class autobiography will be required. If you prefer, you can create a life writing project in lieu of a more traditional research paper but this will need to be approved by me. Your research paper/project should deal in some way with pedagogy so that you link the reading and critique of life writing texts to strategies for teaching them. Graduate students will be expected to write a research paper/construct a project of 20-25 typed whole pages, and to generate an annotated bibliography of at least 10 whole pages and at least ten critical/theoretical secondary sources. Works Cited pages are required for the research paper but are not part of the required number of pages.

ENG 372 Studies in Contemporary Literature for Young People

Advanced critical examination of 20th and 21st century literature for children and young adults with emphasis on trends and research.

Section 1, TR at 2:00, Jan Susina

Description of Course:
This course is intended to introduce students to growth of British and American children's literature during the last one hundred years.  This course is a continuation of the study of the history and development of children’s literature found in English 370: Studies in the History of Literature of Young People.  This course will examine the changing concepts of childhood and how children's books help to establish an ideology of childhood.  The course will focus primarily on influential children’s texts from the Anglo-American tradition that have been published during the twentieth and twenty-first century.  The course will also introduce students to a variety of critical approaches to children's literature and examine the development of the criticism of children's literature as an academic field.  The course should be of interest to students working in Children’s Literature, Education, Popular Culture, Visual Studies, and American Studies.

Required Texts:  (Tentative)
L. Frank Baum.  The Wonderful Wizard of Oz. Illustrated by W.W. Denslow. Dover
A.A. Milne.  Winnie-the-Pooh.  Illustrated by Ernest Shepard. Puffin.
Virginia Lee Burton. The Little House. Houghton Mifflin.
Laura Ingalls Wilder.  The Little House on the Prairie.  Illustrated by Garth Williams.
    Harper Collins.
Margaret Wise Brown.  Goodnight Moon.  Illustrated by Clement Hurd.  Harper Collins.
E.B. White.  Charlotte’s Web.  Illustrated by Garth Williams. Harper Collins.
Crockett Johnson. Harold and the Purple Crayon. Harper Collins.
Dr. Seuss.  The Cat in the Hat. Random House.
Ezra Jack Keats. The Snowy Day.  Puffin.
Maurice Sendak.  Where the Wild Things Are. Harper Collins.
S.E. Hinton. The Outsiders. Speak.
Judy Blume.  Are You There God, It’s Me Margaret? Delacorte Books.
Shel Silverstein.  Where the Sidewalk Ends. Harper Collins.
Beverly Cleary.  Ramona the Brave.  Illustrated by Tracy Dockeray. Avon Camelot Books.
David Macaulay. City: The Story of Roman Planning and Construction. Graphia.
Jon Scieszka.  The Stinky Cheeseman and Other Fairly Stupid Tales. Illustrated by Lane Smith.
  Puffin Books.
J.K. Rowling.  Harry Potter and the Sorcerer’s Stone. Illustrated by Mary Grandpre. Scholastic.
Additional critical readings on reserve at Milner Library.

Format of the Course:
 Undergraduates will be required to write one short research paper (8-10 pages), while graduate students will write one short paper (8-10 pages) and one longer critical paper (15-20 pages).   In addition, all students will write a book analysis (3-5 pages) on a significant illustrated children’s text selected from a list provided by the instructor.   A midterm exam and a final exam will be given. Graduate students will have the opportunity to lead class discussion on one of the assigned texts. All students will be expected to regularly attend class, and actively contribute to class discussion.

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 1, TR at 11:00, 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 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 the experience of adolescence is also a biological one: 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/ zombie/ drunk/ dying/ autistic/ 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.  

Texts:
The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie
Mexican Whiteboy, by Matt de la Pena
Bend it Like Beckham (film)
Smoke Signals (film)
You Don’t Know About Me, by Brian Meehl
Anya’s Ghost, by Vera Brosgol
The Rock and the River, by Kekla Magoon
The Spectacular Now, by Tim Tharpe
The Disreputable History of Frankie Landau-Banks, by E. Lockhart
Incarceron, by Catherine Fisher
Feed, by M.T. Anderson
Revolution, by Jennifer Donnelly
The Infects, by Sean Beaudoin
The Fault in Our Stars, by John Green
theory readings as assigned

Section 2, R at 5:30, 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 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 the experience of adolescence is also a biological one: 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/ zombie/ drunk/ dying/ autistic/ 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.  

Texts:
The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie
Mexican Whiteboy, by Matt de la Pena
Bend it Like Beckham (film)
Smoke Signals (film)
You Don’t Know About Me, by Brian Meehl
Anya’s Ghost, by Vera Brosgol
The Rock and the River, by Kekla Magoon
The Spectacular Now, by Tim Tharpe
The Disreputable History of Frankie Landau-Banks, by E. Lockhart
Incarceron, by Catherine Fisher
Feed, by M.T. Anderson
Revolution, by Jennifer Donnelly
The Infects, by Sean Beaudoin
The Fault in Our Stars, by John Green
theory readings as assigned

English 391 Survey of Classical Rhetoric

Rhetorical theory from ancient Greece and Rome, 500 BCE to 100 CE, emphasizing the Older Sophists, Aspasia, Isocrates, Plato, Aristotle, Cicero and Quintilian. Also discusses contemporary applications of classical rhetoric and rhetorics of other cultures in the western classical era.

Section 01, M at 5:30, Joyce Walker

ENG 394 TESOL Practicum

Observation, case studies, tutoring, instructional assistance, and some teaching experience in English as a Second Language.

Section 01, M at 11:00, Hyun-Sook Kang

Course goals:
The TESOL Practicum offers students seeking an endorsement in TESOL the opportunity to acquire clinical hours while observing and participating in ESL instruction in an Illinois public school.  The Practicum also offers graduate students pursuing the graduate certificate in TESOL the opportunity to obtain clinical experience in a local adult ESL center.  Students should have completed at least two of the TESOL courses (343, 344, 345, 346) in addition to the prerequisite to these (391) before enrolling in 394, since the assignments in this course will require students to use the concepts discussed in those courses to structure their observations.

This practicum is intended to provide you with focused observation of teachers of English to non-native speaking learners, practice for you in teaching such learners and an opportunity to view and evaluate yourself as a teacher, and an opportunity for you to provide a service to both the TESOL profession as well as to a specific community of learners.  Much of the work for the course will be completed as an independent study during which you will organize, manage, and complete observations, tutorials, etc. on your own.

ENG 395 Problems in the Teaching of English

Theory and practice in the teaching of language, literature, and composition at the seconfary and community college levels.

Section 01, MW at 3:35, Paula Ressler

Many people do not have the background to teach Holocaust literature in nuanced and accurate ways. In this course we will study texts that are often used in college and secondary school courses in which Holocaust literature is taught in addition to texts that provide critiques of and supplement those texts, and texts that provide necessary historical and cultural background. We will discuss complicated questions embedded in Holocaust literature that shed light on many contemporary issues and link prior and current genocides, as well as specific challenges teachers face when dealing with religion, morality, trauma, and ethics in educational settings. The course will be interdisciplinary, especially integrating literature with history. We also will study pedagogies that improve crosscultural communication to help students overcome defensiveness and therefore better withstand challenges to their biases that interfere with learning.

This course is appropriate for English; History; Language, Literature, and Culture students, and anyone interested in Holocaust studies.

Texts will include, among others: Maus by Art Spiegelman; Anne Frank: The Book, the Life, the Afterlife, by Francine Prose; along with Truth and Lamentation, an anthology of Holocaust literature. In addition, we will read Doris Bergen’s War and Genocide, and numerous articles by literary and historical scholars such as Sara Horowitz, Lawrence Langer, Shoshana Felman, and Lisa Heineman.

This course is appropriate for English; History; Language, Literature, and Culture students; and anyone interested in Holocaust studies.  

For further questions, contact: Dr. Paula Ressler, pressle@ilstu.edu, 309-438-7798.

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.

Section 01, Arranged,  Jim Kalmbach

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