Course Schedule

Courses Fall 2012

224 | 300 level | 400 level | 500 level | 600 level

150.002: Study of Literature
MWF 2:00-2:50
Douglas Ryan VanBenthuysen

This course will introduce non-English majors to a variety of English literary works and techniques to better allow for understanding and enjoyment. This section will focus on looking at the ways poets and authors use language by closely examining works from a variety of periods. The course will begin in the Renaissance, examining poems by John Donne and a play by William Shakespeare. We will then move back in time and read Old English poetry, including Beowulf. Finally, we’ll finish up the course by reading a 20th century novel by William Faulkner. This eclectic collection of literary works will be tied together by the theme of language, and, through taking this section, you will also get an introduction to the history of the English language and learn about literary conventions such as poetic meter, literary devices, and narrative style.

219.021: Technical and Professional Writing
Online
Valerie Thomas

This course will introduce you to the different types of documents found in the workplace and give you the chance to practice writing them. This class is practical and practice-oriented. You will learn useful methods for creating effective workplace documents that you can apply immediately to a variety of documents from one-page letters to multi-page reports. As you learn to analyze and understand your readers’ needs as well as develop a coherent structure, clear style, and compelling page layout, you will be able to create documents that communicate effectively.

219.022: Technical and Professional Writing
Online
Steve Benz

English 219 focuses on how to write and design documents found in the workplace. Students create documents that are based on the needs of their readers by considering the type of research to conduct as well as the appropriate structure, writing style, and page layout to use. Assignments include creating professional letters, memos, procedures, manuals, proposals, and analytical reports.

219.024: Technical and Professional Writing
Online
Steve Benz

English 219 focuses on how to write and design documents found in the workplace. Students create documents that are based on the needs of their readers by considering the type of research to conduct as well as the appropriate structure, writing style, and page layout to use. Assignments include creating professional letters, memos, procedures, manuals, proposals, and analytical reports.

220.001: Expository Writing: Broken Societies: Genre Studies in Dystopian Literature
MWF 9:00-9:50
Carol Jean Stokes

Depicting its author's vision of a unique society, dystopian literature is fascinating, frightening, and fantastic. This course will explore genres such as totalitarian, cyberpunk, capitalistic, and post-apocalyptic dystopias within modern dystopian short stories, novels, and films. Because dystopias also function as a venue for social criticism, we will explore current topics such as individualism, government intrusion in private life, book banning, population control, and modern attempts at creating utopian societies. Class discussions and writing assignments will help students to increase their critical thinking, analysis, and writing skills. Students will improve their ability to gather, analyze, report, and interpret information through a variety of writing assignments which will include response papers, a review, literary analysis, and an annotated bibliography. Students will show evidence of their analytical and research skills as they plan and write a final position paper which addresses a critical social issue discussed in the course.

220.002: Expository Writing: The Politics of Labeling
MWF 10:00-10:50
Todd Ruecker

Hispanic, Latina/o, Chicana/o.  Negro, Black, African American.  ESL, Nonnative Speaker, Bilingual, Multilingual.  White, Gringo, Caucasian, European American.  Immigrant, Undocumented Worker, Illegal Alien.  Identity labels are a constant part of our daily lives, sometimes used without thinking but often occurring in highly political and contested spaces.  In this class, we will explore the politics surrounding labels and the implications of using different labels to describe individuals.  With readings from linguistics, philosophy, and rhetoric and composition along with analyses of mainstream media discourses, we will gain a deeper understanding of the discursive implications of labeling and its relation to identity construction.  Through a variety of writing projects, students will explore the role labeling has played in their own lives, analyze popular discourses, conduct a review of scholarly work on labeling, and conduct primary research on the role labeling has played in the lives of members of the UNM and Albuquerque communities

220.003: Expository Writing: J.R.R. Tolkien's The Lord of the Rings Today
MWF 11:00-11:50
Megan Abrahamson

Vastly popular, unexpectedly intellectual, and profoundly spiritual, J.R.R. Tolkien’s epic trilogy The Lord of Rings has survived its recent stint as a blockbuster trilogy to remain not only a literary classic, but even what many consider to be the foundation of the genre of modern "high" fantasy. As the father of fantasy literature, Tolkien did not simply create a genre: he created a world. Through three major writing assignments we will explore this “sub-creation” called Middle-earth, not only in the context of later interpretations (film, music, comic books, fan-fiction, and games from the past 30+ years), but also as a world in its own right, with its own geography, history, ecosystems, sentient populations with their own laws and customs, and even its own alternate cosmos. And what better time to consider Tolkien than in the semester in which Peter Jackson’s The Hobbit is released in theatres? The goal of this course is to understand why this fictional world produced by Tolkien still captivates audiences and inspires ever newer interpretations and adaptations of Middle-earth today.

220.004: Expository Writing: Technology and the Human
MWF 12:00-12:50
Erika Jungwirth

The concept of “human nature” has always been constructed in opposition to some “other.” While this “other” has most traditionally been a marginalized human population or a more generally conceived animal world, this 220 class will explore the way that technology has come to occupy the space of “other” against which notions of humanity and human nature are formed. We will begin by reading about Brian Christian’s experience in the Turing Test, a yearly test in which humans compete against computers to prove they are human to a panel of judges, in the Atlantic Monthly article “Mind vs. Machine.” As a class, we will perform a rhetorical analysis of the way that the term “human” and “computer” become loaded with a host of implied connections; the idea of what it means to be “human” is created in opposition of what it means to be a “computer”. Next, we will read the dystopian novel Feed, which depicts a world in which the Internet has been implanted in everyone’s head. The novel explores the way in which this interferes with the character’s ability to communicate, engage in extended thought processes and form relationships. Additional sources may be added to the course through WebCT postings or use of video in class to support these texts. Possibilities include short stories “The Veldt” by Ray Bradbury and “Bicentennial Man” by Isaac Asimov, movies 2001: A Space Odyssey, A.I. and The Social Network, and TV shows such as Battlestar Galactica.

220.005: Expository Writing: Picturing the Word/Reflecting the Gaze
MWF 1:00-1:50
Deborah Paczynski

Images and texts saturate our culture, today more pervasively than any time in recent or past history. Photography and writing each have a way of capturing ambiguous moral, psychological, and documentary slices of life. The art of the image and the craft of the word each mediate deeply personal and arbitrary experiences of life because of the interiority and the exteriority of their gaze.  By examining the visual rhetoric of photography and the traditional rhetoric of written text, this class will explore the intersection of these rhetorics and investigate how each informs the other. The writing and reading in this class consists of examining the lengthy tradition of writers who write about photography and photographers who write by studying photo essays, short stories, nonfiction analysis and reviews, photo exhibitions, theoretical positions, and iconic photographs. Each of these forms will serve as means to critically evaluate how knowledge and meaning are constructed within specific socio-cultural contexts, and how, as writers, we draw on images to connect us to words that help us and our readers develop relationships with ideas, places, time, and space. Students will create numerous short texts, weekly class blog entries, and work throughout the semester in varied and ongoing modes of inquiry to create a research-based final project. 

220.006: Expository Writing: Making the Medieval Woman: Saints, Sinners, Loathly Ladies, and Lovers
MWF 2:00-2:50
Colleen Dunn

“Saint,” “Sinner,” “Loathly Lady,” and “Lover”—these are just a few of the labels ascribed to women in medieval literature.  This course will explore the extreme categories created for the medieval woman, and how the idea of “Woman” is actually constructed in the literature.  We will begin by examining how gender is treated in works authored by women in comparison to similar works by men.  After establishing a framework for the different ideas and the language used to describe them, we will explore the various categories of the medieval woman, beginning with the saint (including the warrior saints found in Old English and transvestite saints, such as Joan of Arc), then moving on to loathly ladies and mischief makers, using Sir Gawain and the Green Knight as the main text.  Finally, we will examine the Arthurian lover found in Yvain and in excerpts from Thomas Malory’s Le Morte Darthur.  We will end the course by looking at modern interpretations of the medieval woman, and tracing these interpretations back to their earlier counterparts.  The goal of this course is to examine how the idea of the “woman” is created in the literature, and how this process both reflects and creates a sense of social identity.

220.007: Expository Writing: Rhetorical Comedy in American Film
MWF 3:00-3:50
Joseph Serio

Students will write about modern issues as they are presented in film comedies ranging from the 1930s to today, how arguments about these issues are presented, and how humor is used to further and empower these arguments. The issues will include but not be limited to war/politics, sexuality, masculinity/femininity, Hollywood culture, and technology. Film criticism techniques, rhetorical devices and argumentative styles will be studied and employed. Despite the focus on comedy, genre differences will also come into play; parodies of other genres, mockumentary, satire, and film versions of classic comedic literature are included.

220.008: Expository Writing
TR 5:00-6:15
Marisa P. Clark

English 220 is an expository writing course designed to hone and advance your academic and critical reading and writing skills. In this section, we will focus on the genre of book-length comics and assess their value as works of art and literature. We will look specifically at graphic memoirs as a medium for conveying stories from the artist-author’s life; we will also look at how aspects of history and culture serve as a backdrop for these stories. Naturally, we will examine how image and words work together to enrich a text. Given that comics is so often viewed as a childish genre, we will give ample consideration to the target audience for such works. Does the use of pictures allow for a broader readership? Is the storyline ever made more simplistic because of the dependency on pictures? Do the pictures clarify certain elements of the written text or add complexity and depth to the artist-author’s perspective? Does the style of the artwork affect the readability of the book?
While the bulk of our reading will be graphic works such as Maus, Persepolis, and Fun Home, we will also look at a few traditional essay-length memoirs for comparative purposes. Writing assignments will arise from our discussions and analyses of readings, and in addition to short essays and a research paper, we will also work on a graphic project of our own. (Yes, I know this isn’t an art class! The quality of your artwork won’t be part of your grade; your effort will.) Please email me at clarkmp@unm.edu if you would like more information.

220.021: Expository Writing: What’s so Wild about the West?
Online
Erin Murrah-Mandril

This online course will develop student writing through the exploration of various texts including historical documents, literature, film and other visual images of the US west. We will examine the west as an imaginative space that produces a concrete impact in the lived experiences of people in the west from the 1800s to the present. Through analyzing these various cultural productions students will develop advanced strategies of rhetorical analysis and apply these skills to plan effective writing within their own unique rhetorical situation. The course will culminate in an independent writing project in which students develop research strategies for finding appropriate scholarly material to support a sustained argument about an aspect of US western culture. By the end of the course, students will be able to evaluate sources for quality, validity and appropriateness, and structure their own documents to create a rhetorically complete presentation of their understanding and interpretation of the US West and its ramifications for the people who live there. This is a multimedia course that incorporates print, film and Internet sources with both textual and visual representations of the west.

220.022: Expository Writing: Pop-culture Archetypes
Online
Caroline Gabe

Using examples from current and past pop culture, this course will explore the classical archetypes that help to create timeless figures. The course will introduce students to the connection between our contemporary culture and historic, mythological, and iconic archetypes. Well known books and movies like Lord of the Rings,Star Wars, and Harry Potter incorporate a standard set of archetypical characters. Both the historic roots and modern implications of such archetypes will be explored and critiqued in this course. The course is roughly divided into six topics – background on archetypes, male archetypes, female archetypes, ensembles, ambiguous archetypes, and real world archetypical individuals. This initial work will lay the foundation for students to find and analyze an archetype and its history in individual research for the final semester project.

220.023: Expository Writing: Relationship Advice in Popular Culture
Online
Annarose Fitzgerald

In this 220 section, we’ll be examining the rhetoric of relationships, from friendship to dating, spouses to siblings, roommates to neighbors in academic and popular articles, film clips, song lyrics, and other texts that articulate how relationship dynamics work. Through readings, class discussions, and written responses on a variety of styles and genres of texts, we’ll explore the voices that have shaped—and continue to shape—our understanding of relationship dynamics in today’s world, and work on developing voices of our own.

220.033: Expository Writing: Reading and Writing Our Communities:Language, Power, Identity, and Community Engagement
TR 12:30-10:45
Brian Hendrickson

In this course, students will develop their own writing identities as emerging scholars by considering how language, power and identity influence how we read (are shaped by) and write (shape) our communities. By actively, collaboratively, and critically engaging with course readings, community-based research, and the writing process itself, students will practice and reflect upon the moves made by successful academic writers, gain a greater understanding of the complexity of issues related to language, power and identity within their own communities, and explore the strategies of community writing centers and other community literacy initiatives for acting as responsible agents of change.

220.035: Expository Writing: The Graphic Novel
MWF 8:00-8:50
Vincent Basso

Comic books represent a unique narrative form, a merging of rhetoric and sequential art, which holds an important place in American and global popular culture. The comic seems to traditionally mediate a sense of possibility within the childhood imaginary, yet as the form has evolved we’ve come to find thematically mature explorations of identity, political agency, comedy, and pathos in the form of the comic book or graphic novel. Comics today are an area of serious scholarship and artistic productivity, and, as such, our class will consider how this form of literature works to articulate arguments and representations of cultural fact and fantasy. Our class will develop the analytical skills necessary for critique of the graphic form, and write critically and creatively in response to it. In addition to assigned readings and class discussion, work for this class will consist of regular writing assignments inclusive of project proposals, book reviews, genre analyses, comic scripts, as well as a final 8 to 10 page critical essay.

220.036: Expository Writing: War, Famine and Zombies - The End is Nigh
TR 9:30-10:45
Emilee Howland-Davis

As we head into the last half of 2012 the ideas of an ending world are all around us. Apocalyptic fiction is very popular and numerous authors have explored this concept in a variety of ways. In this class we will examine how apocalyptic writers frame their end-of-the-world narratives. The class will cover two sections, one on environmental apocalypse such as war or famine and a second section that will concentrate on more Science Fiction ideas such as the zombie apocalypse. After analyzing the ways that authors create dystopian worlds we will then examine a variety of apocalyptic creations such as books, poetry, movies and video games. For example we will look at The Hunger Games, World War Z, The Stand, Zombie Haiku, Logan's Run, Mad Max, Marvel Zombies and others.

220.037: Expository Writing
TR 11:00-12:15
Marisa P. Clark

English 220 is an expository writing course designed to hone and advance your academic and critical reading and writing skills. In this section, we will focus on the genre of book-length comics and assess their value as works of art and literature. We will look specifically at graphic memoirs as a medium for conveying stories from the artist-author’s life; we will also look at how aspects of history and culture serve as a backdrop for these stories. Naturally, we will examine how image and words work together to enrich a text. Given that comics is so often viewed as a childish genre, we will give ample consideration to the target audience for such works. Does the use of pictures allow for a broader readership? Is the storyline ever made more simplistic because of the dependency on pictures? Do the pictures clarify certain elements of the written text or add complexity and depth to the artist-author’s perspective? Does the style of the artwork affect the readability of the book?
While the bulk of our reading will be graphic works such as Maus, Persepolis, and Fun Home, we will also look at a few traditional essay-length memoirs for comparative purposes. Writing assignments will arise from our discussions and analyses of readings, and in addition to short essays and a research paper, we will also work on a graphic project of our own. (Yes, I know this isn’t an art class! The quality of your artwork won’t be part of your grade; your effort will.) Please email me at clarkmp@unm.edu if you would like more information.

224 | 300 level | 400 level | 500 level | 600 level

224.002: Introduction to Creative Writing
TR 2:00-3:15
Sharon Oard Warner

Introduction to Creative Writing:  A beginning course in the writing of fiction, poetry, and creative nonfiction.  Introduces issues of craft, workshop vocabulary, strategies for revision, and the habit of reading as a writer.
In keeping with the catalog description, we will begin with issues of craft applicable to all four genres.  Writing exercises and readings will augment our discussions of these elements of writing.
In the second six weeks, we will turn our attention to the processes of development and revision.  How do creative writers draft and revise a piece?  How do creative writers decide whether the material is most suited to the genre of fiction, poetry, or creative nonfiction?  At this point in the semester, we’ll begin our exploration of the four genres, using both reading and writing to guide us.   By then, you’ll have completed a number of exercises and journal entries, and these will become the fodder for the short fiction, poetry, and essays you produce.  You’ll have the opportunity to try your hand at all three, not to prove your mastery but your mettle.  We’ll write one short-short story, one short essay, and a smattering of poems. 
Every class session will include both writing and reading.  They are equally important and, in fact, inextricable.  While writing can be viewed as a solitary occupation it’s actually a collaborative act.    Best to know from the get-go that whatever you write will be influenced by all that you’ve read.  But you needn’t take my word for it.   Here are words to the wise from several masters:
“Learning to write may be part of learning to read.   For all I know, writing comes out of a superior devotion to reading.”  --Eudora Welty
“I never desire to converse with a man who has written more than he has read.” -Samuel Johnson
“The best training is to read and write, no matter what.”  --Grace Paley
TEXT:  Stephen Minot and Thiel, Diane.  Three Genres: The Writing of Literary Prose, Poetry and Plays.   9th Edition.  New York: Prentice Hall, 2011

224.005: Introduction to Creative Writing
MWF 1:00-1:50
Daniel Mueller

In this course students will read, write, and discuss poems, short stories, and narrative essays and, in the process, engage with the world as writers. 

224.008: Introduction to Creative Writing
TR 9:30-10:45
Sharon Oard Warner

Introduction to Creative Writing:  A beginning course in the writing of fiction, poetry, and creative nonfiction.  Introduces issues of craft, workshop vocabulary, strategies for revision, and the habit of reading as a writer.
In keeping with the catalog description, we will begin with issues of craft applicable to all four genres.  Writing exercises and readings will augment our discussions of these elements of writing.
In the second six weeks, we will turn our attention to the processes of development and revision.  How do creative writers draft and revise a piece?  How do creative writers decide whether the material is most suited to the genre of fiction, poetry, or creative nonfiction?  At this point in the semester, we’ll begin our exploration of the four genres, using both reading and writing to guide us.   By then, you’ll have completed a number of exercises and journal entries, and these will become the fodder for the short fiction, poetry, and essays you produce.  You’ll have the opportunity to try your hand at all three, not to prove your mastery but your mettle.  We’ll write one short-short story, one short essay, and a smattering of poems. 
Every class session will include both writing and reading.  They are equally important and, in fact, inextricable.  While writing can be viewed as a solitary occupation it’s actually a collaborative act.    Best to know from the get-go that whatever you write will be influenced by all that you’ve read.  But you needn’t take my word for it.   Here are words to the wise from several masters:
“Learning to write may be part of learning to read.   For all I know, writing comes out of a superior devotion to reading.”  --Eudora Welty
“I never desire to converse with a man who has written more than he has read.” -Samuel Johnson
“The best training is to read and write, no matter what.”  --Grace Paley
TEXT:  Stephen Minot and Thiel, Diane.  Three Genres: The Writing of Literary Prose, Poetry and Plays.   9th Edition.  New York: Prentice Hall, 2011

224.11: Introduction to Creative Writing
Online
Lisa Chavez

This online introductory course will introduce students to the craft of writing literary fiction, poetry, and creative nonfiction.  We will begin with issues that all genres share, and then go on to look at some of the conventions of the individual genres.  Students should be prepared to learn to read like a writer, to try out a lot of different exercises, to learn the art of revision, and to write in all three genres.  Lively online discussion of the assigned readings are expected, and there will also be an introduction to peer review in small groups. A final portfolio will include work in all three genres that has been revised during the course.

240.001: Traditional Grammar
MWF 9-9:50
James Burbank

This course provides students a thorough understanding of descriptive sentence grammar. Course readings give context to the material. Grammar Nazis, prescriptive grammar, ideas about whether and how grammar should be taught are some of the issues we examine in the Traditional Grammar course.

240.002: Traditional Grammar: Grammar for Writers
TR 9:30-10:45
James Burbank

This course for Professional and Creative Writing students and other student writers focuses on rhetorical grammar—how syntax and grammar can be analyzed and used by writers to engage sentence-level practice in effective meaningful ways. Readings and passages by various authors will provide examples, focus, and framework for this intensive engagement with writing as vision and revision.

250.001: Analysis of Literature
MWF 9:00-9:50
Melina Vizcaino-Aleman

This course introduces the practice of literary analysis: the methods, terms, conventions, and conversations that guide scholars as they approach texts.  We will learn how to interpret texts from three literary genres—fiction, poetry, and folklore—using the critical vocabulary and theoretical methods from Critical Race Theory, Cultural Studies, New Criticism, Deconstruction, Psychoanalysis, Feminism, New Historicism, and Postcolonialism.  Overall, the class prepares students to engage in literary theory and textual analysis both orally and in writing.  You will come away from the class with sharper reading, research and writing skills, which you will deploy to generate and support an effective thesis using textual support and literary theory.

250.002: Analysis of Literature
MW 5:30-6:45
Jennifer Morgan Sims

Brief Course Description: The study of literature is a formal, academic field with rules and conventions of its own that require skills in close analysis, critical thinking and writing. In this class, we will focus on some of the theoretical approaches to the study of literature and you will use them to analyze works of literature, including, Formalism, Deconstruction, Feminism, Marxism, and Psychoanalytic theory. We will also study literary examples of three major genres:  fiction, drama, and poetry. In addition, to help the student learn the conventions of the academic field of literature, the student will be expected to learn general literary terminology. 

250.003: Analysis of Literature
TR 11:00-12:15
Katherine Alexander

This course offers an introduction to the study of literature.  It will focus on the study of selected literary pieces from different eras in the genres of poetry, drama, and fiction.  In the field of literature study, theory offers various lenses that aid in interpretation and understanding.  In this class, theoretical studies will include Formalism, Deconstruction, Marxism, Feminism, and Psychoanalysis.  Students will become proficient in the terminology and approach of each theoretical system as they read, discuss, and analyze assigned works.  Written work will include short responses and one five-page paper for each unit.  Several short quizzes will test the students’ familiarity with the terminology.  Upon finishing this class successfully, students will be prepared to enter upper division classes in the study of English literature. 

290.002: Introduction to Professional Writing
MWF 10-10:50
James Burbank

This course presents students with the various forms and contexts of Professional Writing. Students gain Professional Writing skills and explore and develop their career options.

290:011: Introduction to Professional Writing
Online
Valerie Thomas

This course introduces you to the field of professional writing. To help you learn about job opportunities within this field, you will explore the different types of careers available as a professional writer. You will also study a variety of professional writing genres so you understand their major traits and when it is appropriate to use each of them. Focusing on the need to create documents that convey professionalism, you will study the use of writing style and document design as well as how to manage the production of documents and deal with ethical situations that often arise in corporate, professional, private, and public workplaces. Projects in this course will allow you to do research, manage projects, work with others, and make presentations. This is not a course in a specific type of professional writing…freelance writing, public relations writing, public information writing, business writing, or technical writing; rather it will allow you to understand the fundamentals of these genres of professional writing and give you the chance to practice writing some of them.

292.001: World Literature: Ancient through 16th Century
MWF 9:00-9:50
Staff

This course will introduce you to key texts that span centuries and regions from ancient Mesopotamia to Elizabethan England. Not only will you analyze these stories, poems, plays, and essays in and of themselves, but you will also familiarize yourself with some of the political, social, and cultural contexts by which they were shaped. Furthermore, you’ll consider how the issues raised in these texts might continue to form some of your own perceptions of current events, social norms, political ideologies, and cultural constructs today.

292.002: World Literature: Ancient through 16th Century
TR 9:30-10:45 am
Feroza Jussawalla

This is one of the required courses in the World Literature Survey that fulfills core curriculum requirements. We will be using the Bedford Anthology of World Literatures, Vol. 1.  We will do some Greek and Western Ancient texts as well as Indian and other Asian texts, particularly the Ramayana and the Mahabharata and work our way up following the anthology closely even through British traditions such as some Chaucer and end with Shakespeare’s Tempest. My emphasis will be on postcoloniality and colonialism. We will even look at Postcolonial Chaucer.

294.001: Early English Literature
TR 5:00-6:15
Lisa Myers

This survey covers major British texts from the earliest surviving works of the Anglo-Saxons to the close of the 18th century with a focus on the social and cultural issues expressed in the literature. This course is divided into four major blocks. We will begin in the Early Middle Ages where we will focus on Anglo-Saxon literature and the communal nature of the society. Major texts include Beowulf and the Celtic myth The Wooing of Étaín. The second section of the course examines the culture of the High Middle Ages in England through a variety of genres including medieval romance, drama and the outlaw tales of Robin Hood. The social, religious and political upheavals of this period will serve as a backdrop for our study. Next we will move into the English Renaissance and the Early 17th Century where we will examine drama through Shakespeare’s King Lear and Marlowe’s The Tragical History of Dr. Faustus as well as a variety of poetry, concluding with Milton’s Paradise Lost. We will bring the course to a close with a sequence on the Restoration and 18th Century which will examine the use of literature for social change. Major texts for this sequence include Aphra Behn’s Oroonoko, Swift’s A Modest Proposal and Pope’s The Rape of the Lock.

294.002: Early English Literature
MWF 10:00-10:50
Carolyn Woodward

In this survey of literature from the eighth through the eighteenth centuries, we’ll read traditional texts such as Beowulf and Shakespeare’s Twelfth Night as well as less-known pieces such as a 12th-century romance by Marie de France and 17th century poetry by Aphra Behn and John Wilmot (“Rochester”) surprisingly modern in its graphic details about sex.  We’ll make use of Norton’s Web resources to enrich our readings: for example, medieval writings sanctifying war against Moslems to enrich our study of Chaucer, and 18th-century arguments for and against the slave trade to enrich our study of Olaudah Equiano’s slave narrative.  Central to our study will be the construction in Anglo-Saxon epic poetry of basic features of the novel, the creation in the Renaissance of sonnet form, and the 18th-century development of musical comedy. 
Requirements: 2 papers, 2 exams, 2 group projects

296.004: Earlier American Literature
MW 5:30-6:45
Erin Murrah-Mandril

This course surveys American literature from the mid-sixteenth century (including British and Spanish colonial periods) to 1865. The course covers traditional American literary periods including the Colonial, Revolutionary, and Romantic. The course will be centered around a theme of: Shaping America. Along this line, we will consider the changing shape of the nation both geographically and conceptually. We will explore rhetoric of revolution, annexation, Manifest Destiny, and American exceptionalism. While we will give due attention to Northeastern literary production, and the emerging crisis of the Civil War, we will not ignore literature of the West and South places of protest, conquest, and counterpoint.

224 | 300 level | 400 level | 500 level | 600 level | top

321.001: Intermediate Short Fiction
MW 4:00-5:15
Jack Trujillo

This is a craft-based class in short literary fiction.  The focus of our work is on the specific elements of craft that writers (that’s you) use to construct stories and an examination, using your own writing and the writing of others, of how those craft elements can be manipulated to achieve different narrative ends.  The first half of the semester is spent attacking the first short story you write in multiple ways: changing point of view, strengthening verbs, starting the story at an entirely new place, removing back story, for example.  The second half of the semester is spent workshopping a second story written for the class.  Both stories have specific limitations and rules (known lovingly around UNM as “Jack’s Creativity-Destroying Rules”).  Class requires much writing, much reading, two complete stories, a live reading review, a craft review of a collection of short fiction and written critiques of each of your fellow student’s stories.  Texts are Deepening Fiction by Sarah Stone and Ron Nyren and a collection of short fiction by a contemporary writer. 

321.002: Intermediate Short Fiction
TR 2:00-3:15
Jack Trujillo

This is a craft-based class in short literary fiction.  The focus of our work is on the specific elements of craft that writers (that’s you) use to construct stories and an examination, using your own writing and the writing of others, of how those craft elements can be manipulated to achieve different narrative ends.  The first half of the semester is spent attacking the first short story you write in multiple ways: changing point of view, strengthening verbs, starting the story at an entirely new place, removing back story, for example.  The second half of the semester is spent workshopping a second story written for the class.  Both stories have specific limitations and rules (known lovingly around UNM as “Jack’s Creativity-Destroying Rules”).  Class requires much writing, much reading, two complete stories, a live reading review, a craft review of a collection of short fiction and written critiques of each of your fellow student’s stories.  Texts are Deepening Fiction by Sarah Stone and Ron Nyren and a collection of short fiction by a contemporary writer.   

322.001: Intermediate Creative Writing: Poetry
TR 3:30-4:45
Lisa Chavez

This intermediate creative writing course focuses on poetry, and will introduce students to a wide variety of poetic forms and craft issues.  Students will try out various forms, from free verse to the sonnet, and will learn ways to write strong poems regardless of form or content.  Expect a lot of writing exercises and reading in contemporary poetry, with a peer critiquing at the end of the semester.  A final portfolio of revised poems will be expected at the end of the semester.

323.001: Intermediate Creative Nonfiction
MW 4:00-5:15,
Marisa P. Clark

This intermediate creative nonfiction course will introduce you to the many possibilities of creative nonfiction, including memoir and the personal essay, literary journalism, and travel and nature writing. In the first half of the semester, you will read a number of published pieces and do a variety of writing exercises intended to target various craft elements of literary nonfiction and generate material for full-length works. The second half of the semester will be devoted to writing and workshopping your own literary-quality essays. You will draft two essays in our class, one of which will be read and evaluated in workshop by the entire class and significantly revised at the end of the semester. Class discussions will concern elements of literary craft, naturally, but also the special kinds of responsibility that fall on writers of nonfiction. Readings will include essays by Judith Ortiz Cofer, Bernard Cooper, Edwidge Danticat, Joan Didion, Henry Louis Gates, Jr., Philip Gourevitch, Maxine Hong Kingston, Tim O’Brien, Susan Orlean, David Sedaris, Brent Staples, and Luis Alberto Urrea.
Prospective students: I realize this description sounds dry. I assure you the course is anything but. Please email me at clarkmp@unm.edu if you would like more information.

323.002: Intermediate Creative Nonfiction
TR 12:30 – 1:45
Marisa P. Clark

This intermediate creative nonfiction course will introduce you to the many possibilities of creative nonfiction, including memoir and the personal essay, literary journalism, and travel and nature writing. In the first half of the semester, you will read a number of published pieces and do a variety of writing exercises intended to target various craft elements of literary nonfiction and generate material for full-length works. The second half of the semester will be devoted to writing and workshopping your own literary-quality essays. You will draft two essays in our class, one of which will be read and evaluated in workshop by the entire class and significantly revised at the end of the semester. Class discussions will concern elements of literary craft, naturally, but also the special kinds of responsibility that fall on writers of nonfiction. Readings will include essays by Judith Ortiz Cofer, Bernard Cooper, Edwidge Danticat, Joan Didion, Henry Louis Gates, Jr., Philip Gourevitch, Maxine Hong Kingston, Tim O’Brien, Susan Orlean, David Sedaris, Brent Staples, and Luis Alberto Urrea.
Prospective students: I realize this description sounds dry. I assure you the course is anything but. Please email me at clarkmp@unm.edu if you would like more information.

349.001: From Beowulf to Arthur
MWF 11:00-11:50
Staff

This course serves as an introductory survey of early and later British medieval literature (which includes the works of several ‘Anglo-Norman’ authors writing on the Continent) between 700–1450 AD. The texts, originally in Old and Middle English, Welsh, Latin, and Anglo-Norman) will be read in Modern English translations, though some time will be spent on specific terms in the vernacular and the difficulties of accurate translation. The course aims to give students a basic knowledge of the variety and range of the genres of the period, including epic, romance, drama, lyrics, history, myths, saint’s lives, and inscriptions, as well as to impress upon the student the continuity and cultural complexity of medieval literature. The course will be augmented by art-historical presentations, manuscript studies and paleography exercises, and discussions about historiography and feminist critique.
In this class we will go beyond a simple reading of the texts to an analytical study of the themes and characteristics of the texts and how they endure and change through time and across cultures. We will discuss how politics, religion, economics, art, and other shifts in cultural perceptions affect the writer’s view of the world and how they portray it. This will be achieved through an immersion in the texts, frequent writing in and out of class, extra-curricular research, student presentations, and lively and informed class discussions.
Texts: Beowulf (Seamus Heaney translation), The Broadview Anthology of British Literature: The Medieval Period

351.001: Chaucer’s Canterbury Tales
MWF 10-10:50
Staff

In this course, we will explore Chaucer’s most famous work, the Canterbury Tales. Chaucer’s collection of pilgrimage tales is one of the greatest, most imaginative, and varied pieces of all English literature. Consider its fascinating historical backdrop in late fourteenth century England: a generation prior, the plague had swept through Europe decimating the population; political unrest and religious turmoil; a child king had taken the throne; peasants rose up in rebellion; the Bible was translated into English; and heretics were burned at the stake—a world of both decay and renewal, of catastrophic violence and decline for some, but dazzling possibility for others. Through the voices of colorful storytellers, Chaucer’s last great poem tests the boundaries of social possibility in a “disenchanted” age, weighing the competing claims of allegory and realism, chivalry and commerce, men and women, traditional authority and individual experience. And it does so in our ancestor language of Middle English, simultaneously a colorful, earthy, and lofty idiom. We will, in essence, ride along with the pilgrims on our own journey to Canterbury and through the Middle Ages.

353.001: Later Shakespeare
TR 12:30-13:45
Marissa Greenberg

Shakespeare wrote some of his most powerful and enduring works in the latter part of his career: Othello, King Lear, Macbeth, and The Tempest. These plays continue to fascinate because of their haunting representations of racial hatred, family conflict, ambition, violence, and redemption. In this course, we will read these and other plays as dramatic poems and theatrical scripts that engage the cultures in which they are read and performed. Through discussion of the political, social, and religious world in which Shakespeare lived, we will explore what these plays meant for their original audiences; and through recent stage productions and films, we will examine how their meanings have changed for modern-day audiences. Students should be prepared to write several informal essays and to engage actively in class discussion.

354.001: Milton
TR 9:30-10:45
Marissa Greenberg

Paradise Lost, John Milton’s epic retelling of the Biblical story of the fall, has been the inspiration for numerous creative writers, including novelists, short story writers, and other poets. In this course, we will read Paradise Lost alongside some the works it has inspired, in particular Philip Pullman’s His Dark Materials. Through discussion of Milton’s earlier writings, we will trace the evolution of his characterizations of Satan, Adam, and Eve and his themes of free will, temptation, virtue, and poetic invention; and through comparative readings of Paradise Lost and its adaptations, we will explore how the meanings of these characters and themes have changed over time. Students should be prepared to write several informal essays and to engage actively in class discussion.

365.001: Chicano/a Cultural Studies
MWF 11:00-11:50
Melina Vizcaino-Aleman

This course tracks the formation of contemporary Chicana/o identity politics and aesthetics through a historical and critical consideration of language, power, displacement, regionalism, and transnational movements.  The class will chart the emergence of Chicana/o cultural production and the paradigmatic shifts in identity, with attention to how the Spanish colonial, Mexican national, and the post-colonial US inform Chicana/o identity.  In order to achieve this critical and historical trajectory, we will read both primary and secondary texts that range from testimonios, folklore, ethnography, literature, short fiction, history, and criticism.  The class will also become familiar with the politics of Chicana/o film, art, and landscape architecture, as well as critical essays and the key terms of cultural studies.  We will hone our critical reading and thinking skills, and apply these skills to written assignments that engage in the art, aesthetics and politics of identity in Chicana/o cultural studies.

381.002 (AFST 381.002) African American Literature II   
TR 9:30-10:45
Kadeshia Matthews

This course surveys African American Literature of the 20th century.  We will study the major authors and works of the Harlem Renaissance, the Chicago Renaissance, the Black Arts Movement and Black Feminism/Womanism, paying particular attention to recurring debates among writers about the proper subject matter, purpose of and audience for African American creative production, and the ways in which these debates have shaped the canon for African American literature.  Authors include Langston Hughes, Zora Neale Hurston, Richard Wright, James Baldwin, Alice Walker and Toni Morrison.  Grades will be based on participation in class discussion, quizzes, two short papers (%7e5 pp) and a midterm.


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412.001: Capstone and Honors Seminar: Narratives of Courtship
TR 12:30-1:45
Aeron Hunt

First comes love ... really? Then comes marriage ... always? And as for baby carriages ... when they show up at all, why is it so often only on the last page?
This course will examine the history and development of the courtship plot in the Anglo-American literary tradition from the eighteenth century to the present. Among the questions that will motivate our discussion are: How has courtship changed over time, and how have the stories told about it changed? What is the relationship of courtship to the stories a culture tells about itself? How (and why) have love and marriage come to bear the kinds of cultural burdens that they have? How have writers conceived of courtship in relation to the development of the gendered self? How have writers explored challenges to the traditional courtship plot, which has as its endpoint the union of man and woman in marriage?
Authors we read may include Samuel Richardson, Jane Austen, Charlotte Brontë, Henry James, Virginia Woolf, and Jeffrey Eugenides. Secondary readings will include historical and sociological accounts of courtship, marriage, and the history of sexuality; literary critical and philosophical analyses of the courtship tradition; and feminist and queer responses to the courtship plot.
Students will be responsible for an in-class presentation of secondary readings and/or an aspect of the history of courtship and sexuality, short reading response papers, a final research paper, and an in-class, conference style presentation of their research

414.011: Documentation
Online
Steve Benz

This course is about writing technical documents in professional, organizational contexts (business, government, nonprofit agencies). In the first part of the course, we will learn what technical writers do and what skills they need. We will review the technical writing process and the two predominant workflows authors follow to complete the steps in this process. We will also learn about the project management tools that every technical writer needs. The second half of the course addresses skills such as how to get information, organize information, and write content. As we practice these skills, we will also learn about other tasks in the content development process, such as creating visual content, production editing, and indexing. The course concludes with an overview of “structured authoring” and Web 2.0 trends in technical communication. Assignments include writing documents that can become part of a professional portfolio.

418.010: Proposal and Grant Writing
Online
Valerie Thomas

In this course, you will learn how to write persuasive grant proposals. Drawing off the principles of rhetorical analysis, you will learn how to develop a clear statement of need, offer achievable objectives, design logical step-by-step plans, create specific and accurate budgets, and present your organization powerfully. We will explore how to locate appropriate funding opportunities and how to evaluate requests for proposals. We will also discuss methods of writing persuasively that are both ethical and effective, and study how to use document design to create a professional proposal package.
Because proposal writing is not a solitary task, but rather a process of working with others to identify needs, locate opportunities, and develop a persuasive solution, it is helpful to understand how the process works in the real world. To accomplish this need for real world experience, the major project for the course will be to write a real proposal by working with a local organization in a service learning experience.

419.002: Visual Rhetoric
TR 5:00–6:15
Steve Benz

This course covers the basic principles of graphic design that writers should understand when creating documents for professional contexts. Our goal is to be able to do quality, basic layout and design work and to be able to talk sensibly to professional designers. Visual Rhetoric is defined as the art of using images to inform or persuade. A course in visual rhetoric, therefore, purposes to introduce students to the working vocabulary of this rhetoric, as well as the fundamentals of theory and practice associated with document design. In ENGL 419, we learn how to employ principles of effective document design and visual argumentation. We learn how visual elements contribute to and affect the meaning of documents. We study various aspects of document design, including layout, use of headings, typography, photos, illustrations, charts, tables, and graphs. The assignments in the course involve a series of projects that can ultimately become part of a professional portfolio.

419.011: Visual Rhetoric
Online
Valerie Thomas

This course provides theoretical and practical information on how to work with visual elements of textual communication that can be used in document and web design. Design in its broadest sense is an academic and professional discipline that requires years of study. For this course, you will consider yourself a writer who, because of the demands of computer technology, must understand principles of proper design and how to communicate visually in the documents you create. Thus your goal is to understand the principles of effective visual rhetoric so you can analyze existing document and web design, create your own effective layout and design work, and talk sensibly to professional designers and printers. To reach this goal, you will need to learn to use computer software to implement your layout and design ideas.

420.001: Blue Mesa Review
W 1400-1500, F 1500-1700
Justin St. Germain

This class introduces you to the production of UNM’s national literary magazine, Blue Mesa Review. We receive hundreds and sometimes thousands of submissions each year from authors hoping to see their stories, essays, or poems published in our journal. Your primary responsibility in this course is to assess these submissions—collectively called “slush”—for possible publication in BMR. In addition, you will keep an informal journal about your participation in slush, attend two discussion meetings, and write a few short papers. This class requires you to be self-motivating; in some respects, it is very much like an independent study. You must be able to keep up with the workload on your own—and often on your own time.
NOTE: The meeting times listed are open computer lab hours, NOT class meetings. Please contact instructor for more information on requirements and meeting times.

420.003: Writing the Southwest
TR 12:30-1:45
David Dunaway

This is a workshop course in writing about place--our place, the Great Southwest. Based in part on a national radio series and research project, Writing the Southwest takes you to the State Fair, and to worlds inside your memory for inspiration. This creative nonfiction class allows students to workshop their way to a more grounded, nuanced understanding of the techniques of selective description, characterization, and the publication process for nonfiction. The instructor has written for a wide variety of national publications, ranging from the New York Times to Country Music.

421.001: Advanced Fiction Workshop
MWF 11:00-11:50
Daniel Mueller

This workshop provides serious fiction writers the invaluable opportunity to have their work read closely and discussed deeply by a panel of equally serious peers who share, in their hearts and minds, a singular commitment to bringing each piece of fiction as close as possible to completion.  In this workshop, students will be expected to critique one another’s fiction orally and in writing, complete all reading assignments and writing exercises, and submit a final portfolio. 

421.002: Advanced Fiction Workshop
TR 11:00-12:45
Julie Shigekuni

The goal of this advanced fiction workshop is to distill experience, whether actual or perceived—infuse it with imagination and transform it into story. Expect to perform a number of writing experiments and to learn to identify and isolate elements of craft and use them to generate imaginative work. Strong content arises out of identifying and carefully nurturing each layer of a story; as such, we’ll pay special attention to how character development, setting, point of view, temporal distance, tone, pacing, and image function in your work. Class time will be split between writing and discussing your stories and reading and analyzing work by published authors.

423.001: Advanced Creative Writing -- Nonfiction
TTH 3:30-4:45
Justin St. Germain

This is a creative writing workshop course in the genre of creative nonfiction, which includes memoir, the personal essay, reportage, the lyric essay, and hybrid forms. In addition to prerequisite courses, students should have an existing knowledge of the basics of narrative craft – scene, voice, point of view, and so on. Students will read and respond to published writing by prominent authors who push the boundaries of the genre, read and critique the writing of their peers, and have their own creative work read and discussed by the class. Course goals are to refine our understanding of craft, to practice providing constructive criticism and the process of revision, and to explore the possibilities of creative nonfiction.

423.001: Advanced Creative Nonfiction Workshop
Online
Diane Thiel

Creative nonfiction is a genre that stretches back to classical essayists such as Plato and Aristotle, but the term "creative nonfiction" is a relatively new one, the term itself suggesting that the writing is essentially true, though there are a multitude of ways to render a piece. We each find our own creative means of delivery. In this advanced online course, we will explore a number of sub-categories, including travel narrative, personal essay, and memoir, among others. Though the sub-genres of creative nonfiction are generally thought of as distinct, several categories often overlap in a single piece. This course will have a strong focus on memoir, travel writing and personal essay, but will also delve into other forms of nonfiction as well. We will read a number of shorter pieces of creative nonfiction by writers such as Judith Ortiz Cofer, Sherman Alexie, and Diane Ackerman, as well as essays about the writing of creative nonfiction, by writers such as Lee Gutkind, and Margaret Atwood. The course will include extensive and intensive weekly workshop of students' writing and provide a variety of writing exercises to address specific elements of writing creative nonfiction. Students will be responsible for one critical paper responding to the assigned reading, several informal reading responses, weekly peer reviews, as well as a portfolio of about 30 pages of creative work.

440.001: Introduction to Writing & Cultural Studies
TR 2:00-3:15
Michelle Hall Kells

“Ideology is rhetoric that persuades its audience that it’s not rhetoric” –Paul de Man

The scope of ENGL 440/540 Introduction to Writing & Cultural Studies will include examination of regional, national, and international themes through the lens of cultural rhetorical studies.  Cultural Studies (consciously and unconsciously) seeks the rhetorical means (genres, strategies, and media) for resistance. The intellectual operating space of this course rests at the intersection between rhetorical studies and cultural studies to promote study of how writing (text) and the performance of identity (and the struggle for power) happens through legitimate social institutions as well as outside sanctioned social institutions. Combining literacy studies, rhetorical analysis with critical theory this course will promote the study of public discourses related to self-representation (and the transition from political and social marginalization to civic inclusion).

This course will serve the needs and interests of students pursuing degrees within and outside the department of English whose professional, civic, and academic lives demand strong, versatile writing skills that extend across diverse discourse communities.  It will allow students to engage in critical and rhetorical analysis as well as close readings of various kinds of texts, and to produce scholarship in the discipline of English Studies not limited to traditional genres and canonical categories. The emphasis is a way not just to link to diversified writing contexts, but to respond to them through the production of multiple writing genres. To examine the relationship of rhetorical situation to genre, we will also conduct various field work exercises to observe and participate in public rhetorics (e.g. political campaigns, spoken word poetry, film, art, community events, etc.)

This course aligns and promotes each of the three strands within English Studies: Rhetoric & Writing, Literature, and Creative Writing.  Cross-disciplinary concentrations will be articulated by the needs, interests, and goals of students themselves. Students will examine the varied ways that writers exercise agency by constructing situations through genres as well as constructing genres through situations.  As Charles Paine argues: “Our writing, then, rather than acting as a one-time inoculation against an ever-changing dominant ideology, might bring our students toward more healthy attitudes about argument and public participation” (The Resistant Writer: Rhetoric as Immunity 201).

Previous course work in Cultural Studies or Rhetoric not required.
 
Course Assignments:
•    Class Discuss Leader (2)
•    Reader Response Log (5 entries)
•    Community Literacy/Public Rhetoric Observation Report (1 Midterm Report)
•    Team Project & Presentation  (1)
•    Rhetorical Analysis Portfolio (2 Analysis Essays from one of the following contexts:)
o    Film
o    Poetry/Spoken Word
o    Theatre
o    Art
o    Music
o    Public Rhetoric/Community Literacy

Required Texts: (**Graduate Students Only)
Berger, Arthur Asa. Cultural Criticism: A Primer of Key Concepts. Sage Publications, 1995.
Goldblatt, Eli. Because We Live Here: Sponsoring Literacy Beyond the College Curriculum. Hampton Press, 2007.
Nystrand, Martin and John Duffy, eds. Towards a Rhetoric of Everyday Life: New Directions in Research on Writing, Text, and Discourse. University of Wisconsin, 2003.
** Thomas Rosteck, ed. At the Intersections: Cultural and Rhetorical Studies. London: Guilford Press, 1999.  (Graduate Students Only)

Recommended Text:
Raymond Williams. Keywords: A Vocabulary of Culture and Society. Rev. ed.  Oxford University Press, 1985.

Required Films: (Available at Zimmerman Reserve Desk)
Each of the following films is situated within various transcultural/transnational contexts. These very different narratives explore the social dynamics of shifting subject positions and the possibilities of transformative relationships across class, race, gender, and national boundaries.

10 Items or Less.
The Band’s Visit.
Il Postino.
Antonia’s Line.

Learning Outcomes:
Course readings, assignments, exercises, and class discussions are designed to promote the following learning outcomes:
•    Negotiate diverse discourse communities through oral and written communication;
•    Engage the analytical resources of rhetorical studies;
•    Apply concepts of cultural studies;
•    Analyze the use of genre in relation to the rhetorical, contextual, and ethical dimensions of communicative situations;
•    Examine and apply the principles of cultural criticism;
•    Guide and participate in class discussions of course readings;
•    Evaluate the interpretative resources of cultural studies;
•    Use the writing process as recursive stages (from invention to editing) for writing tasks;
•    Conduct observations and generate field notes of diverse cultural and rhetorical events;
•    Connect  learning to the rhetoric of everyday life;
•    Cultivate alliances with peers and work collaboratively toward common goals;

441.001: English Grammars
R 4:00-6:30
Jill V. Jeffery

(Also offered as LING 441; Prerequisite: 240). This course presents a socioculturally informed framework for understanding grammar that emphasizes interplay between micro-level and macro-level discourse structures. Students in the course will examine relationships between English language variation, culture, and identity by analyzing diverse oral, written, and multi-modal texts. The course is designed to help students acquire a foundational, descriptive knowledge of English grammars that will support more effective teaching, learning, and interpretation of English. The culminating course assignment is a multi-modal research project regarding English language variation across time, space, and/or social strata. Graduate students will also present brief, interrelated discourse analyses and reflect on pedagogical implications.

445.001: History of the English Language
MW 2:00-3:15
Jonathan Davis-Secord

The English language can be traced back many centuries to a form nearly unrecognizable to most modern speakers.  Nonetheless, present day English still contains many significant features of its previous incarnations.  This course will examine the history of English from its Indo-European roots through its medieval developments to its modern, international forms.  In the process, students will learn methods of linguistic analysis and description along with the historical contexts of the developments.  No prior knowledge of Old or Middle English is necessary.

447.001: Introduction to Old English
MW 12:30-1:45
Jonathan Davis-Secord

In this class, we will return to the earliest recorded form of English and read some of the oldest literature ever written in the language.  We will read of a queen-turned-abbess, a divinely inspired cowherd, an exploration of the North, and the dangers of celebrity, all in the original Old English.  We will supplement these translations by exploring current scholarly approaches to Old English literature.  The first half of the semester will entail studying grammar in preparation for reading original texts.  For daily work during the second half, students will prepare translations and occasionally read scholarly articles.  No prior knowledge of Old English is required. 

455.001: Gothic Imaginings in the Later Eighteenth Century
MW 2:00-3:15pm
Carolyn Woodward

During the last decades of the eighteenth century, English society unraveled. The philosophies of Shaftesbury, Adam Smith, and David Hume, which for most of the century had provided theories of action and motivation that justified the self-interested behavior of the privileged classes, lost their power. Contradictions began to surface, between an English ideology that inscribed individual/societal mutual well-being and England’s actual economic and political conditions. Incidents like the Gordon riots in 1780 (as well as the terrifying reality of the French Revolution) revealed a rupture in what had been thought of as the time and place of gentlemen and ladies who smoothly practiced polite behavior.  The Gothic novel, which grew from this social climate, was a new and fearful genre for a new and fearful time. The specter of social revolution is manifest in the supernatural specters of the Gothic: a crumbling way of life emerges as a crumbling and haunted Gothic manor; the loss of English social identity becomes the Gothic protagonist’s search for identity. The incredible popularity of the genre in the eighteenth and early nineteenth centuries, as well as for us today, points to a resilience that cannot be overlooked. What is it about these repetitive and fantastical works that is so seductive to readers? Texts: Broadview anthology coursepak; Three Oriental Tales ed Richardson, Matthew Lewis’s The Monk, Ann Radcliffe’s The Italian, Charlotte Dacre’s Zoyfloya; plus a film viewing of Jane Austen’s Northanger Abbey. Requirements: questions for class discussion, 2 exams, one research paper.

461.001: American Romanticism
TR 2:00-3:15pm
Jesse Alemán

This course understands the American renaissance as a historical moment during the mid-nineteenth-century that saw radical changes in everything from literature and print culture to domesticity and democracy. It was a time teeming with excitement and energy for the United States, as it developed into a national power and self-consciously struggled to generate its own national literature. Normally, we associate this era with canonical authors, such as Emerson, Thoreau, Hawthorne, Melville, and Whitman, but the writings of marginal authors, such as Douglass, Fuller, Poe, and Lippard, demonstrate the diversity of American literature that boomed between the 1830s to the 1850s. This course will survey and analyze the key texts and authors of mid-nineteenth-century American literature. It will focus on major movements such as transcendentalism and romanticism; major literary forms such as essays and novels; and major socio-historical factors such as Indian removal, slavery, domesticity, and the rise of market capitalism and industry, but we’ll also read and discuss lesser-known writings and authors to experience the variety of texts that the American renaissance fostered and fueled in the years preceding the U.S. Civil War.

463.002: Modern American Literature
R 5:00 – 6:15
Kathleen Washburn

This course takes up interconnected visions of American pasts and futures in a range of novels from the early twentieth century. We will address how various writers “make it new” by experimenting with the subjects and forms of American literature. A central focus for our course involves the relationship between looking forward and looking backward to imagine the boundaries of modern America in a new century. For if modernity signals a break with tradition, then why do so many novels from the early twentieth century dwell on the past? And with a national mythology rooted in narratives of self-invention, which pasts do modern American novels memorialize or obscure? Which futures do they imagine? From fictional utopias and Old New York to lost mesas and the Lost Generation, we will investigate the remembered places and futuristic spaces of American fiction in a changing modern landscape. To do so, we also will address various critical models of historical memory and cultural nostalgia.
Texts for the course may include: Charlotte Perkins Gilman, Herland; Edith Wharton, The Age of Innocence; Willa Cather, The Professor’s House; F. Scott Fitzgerald, The Great Gatsby; Nella Larsen, Quicksand; John Joseph Mathews, Sundown. Course requirements include an annotated bibliography, short essay (5 pages), and longer essay (8-10 pages).

468.002: Ezra Pound and the Generations
T 4:00-6:30
M. R. Hofer

Ezra Pound, that “serious artist,” is a uniquely contested yet canonical American writer whose body of work towers over the development of modernist and contemporary literature alike. He has been—as everyone knows—celebrated primarily for his art and disparaged primarily for his politics. In this seminar, without neglecting the latter, we will address the former, initially on its own terms and then in the context of later attempts to use Poundian poetic theory and practice to re-imagine the modes and possibilities of aesthetic representation throughout the twentieth century. We will employ formal as well as historical and thematic analysis to ground and better understand the evolution of theories of innovative poetics during the 1930s, 1950's, and beyond. Our objective is to comprehend not only significance but also the persistence of the work of a major poet who insisted on operating in the public sphere, whether it be viewed as a record of triumphant achievement, or as a cautionary tale for ambitious younger writers, or (perhaps) as both. We will be striving to come to terms with Pound’s many engagements with culture, economics, and politics in order to discover how the various tensions between those commitments may have informed his own ideas . . . and continue to affect those of succeeding generations of American poets.

473.001: Postmodernism
TR 9:30—10:45
Scarlett Higgins

This course will serve as an introduction to the literature (and films) of postmodernity. We will examine postmodernism from three different perspectives: as a chronological era, as a set of formal innovations in literary and aesthetic technique, and as a state in which the traditional social supports such as the family have eroded or disappeared, and so individuals are left to find their own way in society. This unmooring of the traditional family creates new opportunities for the exploration of identity. Texts may include the following:
Kathy Acker, Great Expectations
Don DeLillo, White Noise
Thomas Pynchon, The Crying of Lot 49
Art Spiegelman, Maus
Colson Whitehead, The Intuitionists
Jeanette Winterson, Written on the Body
Ridley Scott, Blade Runner
Wachowski Brothers, The Matrix
David Fincher, Fight Club
Christopher Nolan, Memento
Evaluation will be based on class participation, weekly quizzes and response papers, and a research project, plus a final.

499.001: Internship Seminar
MWF 2:00-2:50
James Burbank

Students who take this seminar develop, explore, and prepare for their professional options following University. Students research and plan career campaigns through resume, portfolio development. The course is linked to student internships done either concurrent or prior to the course.

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500.001: Introduction to the Professional Study of English
TR 12:30-1:45
Jesse Alemán

This course prepares students for literary studies at the graduate level. It will cover fundamental bibliographic, research, and MLA methods; it will introduce students to major ideas in contemporary literary theory; it will consider the cultural poetics and politics of the history of English studies; and it will prepare students to produce graduate scholarship and writing. It will also introduce students to the English Department’s graduate requirements and policies; the department’s faculty; and the resources of UNM’s libraries.

510.001: Criticism & Theory
TR 9:30-10:45
Pamela Cheek

511.001: Feminist Theories
W 2:00-4:30
Amy Brandzel

518.001: Proposal and Grant Writing
MWF 1:00-1:50
Kyle Fiore

518.010: Proposal and Grant Writing
Online
Valerie Thomas

In this course, you will learn how to write persuasive grant proposals. Drawing off the principles of rhetorical analysis, you will learn how to develop a clear statement of need, offer achievable objectives, design logical step-by-step plans, create specific and accurate budgets, and present your organization powerfully. We will explore how to locate appropriate funding opportunities and how to evaluate requests for proposals. We will also discuss methods of writing persuasively that are both ethical and effective, and study how to use document design to create a professional proposal package.
Because proposal writing is not a solitary task, but rather a process of working with others to identify needs, locate opportunities, and develop a persuasive solution, it is helpful to understand how the process works in the real world. To accomplish this need for real world experience, the major project for the course will be to write a real proposal by working with a local organization in a service learning experience.

520.004: Blue Mesa Review
Open Lab hours: W 2:00-3:50, F 3:00-5:00
Justin St. Germain

This class introduces you to the production of UNM’s national literary magazine, Blue Mesa Review. We receive hundreds and sometimes thousands of submissions each year from authors hoping to see their stories, essays, or poems published in our journal. Your primary responsibility in this course is to assess these submissions—collectively called “slush”—for possible publication in BMR. In addition, you will keep an informal journal about your participation in slush, attend two discussion meetings, and write a few short papers. This class requires you to be self-motivating; in some respects, it is very much like an independent study. You must be able to keep up with the workload on your own—and often on your own time.
NOTE: The meeting times listed are open computer lab hours, NOT class meetings. Please contact instructor for more information on requirements and meeting times.

520.003: Writing the Southwest
TR 12:30-1:45
David Dunaway

This is a workshop course in writing about place--our place, the Great Southwest. Based in part on a national radio series and research project, Writing the Southwest takes you to the State Fair, and to worlds inside your memory for inspiration. This creative nonfiction class allows students to workshop their way to a more grounded, nuanced understanding of the techniques of selective description, characterization, and the publication process for nonfiction. The instructor has written for a wide variety of national publications, ranging from the New York Times to Country Music.

520.001 Writing with Classical Tropes
TR 9:30-10:45
Jerry Shea

This course focuses on rhetorical tropes and schemes, on recognizing them and using them in our writing. You will develop a store of particularly useful tropes to amaze your friends and confound your enemies. Not only will we write, but we will analyze other writings, learning to spot the coy apophasis, the elusive hypophora, the flashy chiasmus, the bullying bdelygmia, and many more. No exams, just writing: five or six short papers.

521.001: Graduate Workshop in Fiction
M 4:00-6:30
Julie Shigekuni

This fall will be a time of mysteries. We’ll read some together—both long and short—and look at how “mystery” is created in your work and in the work of published authors. Participant work will serve as the primary text. But expect to devote some time to outside readings and writing experiments as well.

522.003: Graduate Poetry Workshop
R 4:00-6:30
Diane Thiel

This graduate course will focus primarily on workshop of students' writing. Because students arrive in a graduate workshop with a variety of backgrounds, styles, and interests in poetry, we will engage in ongoing discussions about lineage and the different schools of thought in poetry. The course will include some focus on writing which might resist genre classification. The course will involve some exploration of the verse novel, the theory and practice of translation, and on prose written about the art. Students will also write one creatively critical essay or review and give a presentation. Portfolios of about 30 pages, including about 7-10 significantly revised pieces, will be due near the end of the semester.

523.002: Creative Writing Workshop: Nonfiction
R 7:00-9:30 pm
David Dunaway

This workshop course brings together students of professional and creative writing for a reading and a writing of the one of the most commercially viable forms of creative nonfiction. The principal assignment is to write a chapter of your life and someone else's (as if from a book).
We read works by and about Twain, Kerouac, and Angelou, to study their craft and narrative strategy. The course culminates in readings of the written work and concrete plans for its publication. The instructor has published lives long and short, ranging from Aldous Huxley to Pete Seeger.

537.001: Teaching Composition
M 4:00-6:30
Cristyn Elder

540.001: Introduction to Writing & Cultural Studies
TR 2:00-3:15
Michelle Hall Kells

“Ideology is rhetoric that persuades its audience that it’s not rhetoric” –Paul de Man

The scope of ENGL 440/540 Introduction to Writing & Cultural Studies will include examination of regional, national, and international themes through the lens of cultural rhetorical studies.  Cultural Studies (consciously and unconsciously) seeks the rhetorical means (genres, strategies, and media) for resistance. The intellectual operating space of this course rests at the intersection between rhetorical studies and cultural studies to promote study of how writing (text) and the performance of identity (and the struggle for power) happens through legitimate social institutions as well as outside sanctioned social institutions. Combining literacy studies, rhetorical analysis with critical theory this course will promote the study of public discourses related to self-representation (and the transition from political and social marginalization to civic inclusion).

This course will serve the needs and interests of students pursuing degrees within and outside the department of English whose professional, civic, and academic lives demand strong, versatile writing skills that extend across diverse discourse communities.  It will allow students to engage in critical and rhetorical analysis as well as close readings of various kinds of texts, and to produce scholarship in the discipline of English Studies not limited to traditional genres and canonical categories. The emphasis is a way not just to link to diversified writing contexts, but to respond to them through the production of multiple writing genres. To examine the relationship of rhetorical situation to genre, we will also conduct various field work exercises to observe and participate in public rhetorics (e.g. political campaigns, spoken word poetry, film, art, community events, etc.)

This course aligns and promotes each of the three strands within English Studies: Rhetoric & Writing, Literature, and Creative Writing.  Cross-disciplinary concentrations will be articulated by the needs, interests, and goals of students themselves. Students will examine the varied ways that writers exercise agency by constructing situations through genres as well as constructing genres through situations.  As Charles Paine argues: “Our writing, then, rather than acting as a one-time inoculation against an ever-changing dominant ideology, might bring our students toward more healthy attitudes about argument and public participation” (The Resistant Writer: Rhetoric as Immunity 201).

Previous course work in Cultural Studies or Rhetoric not required.
 
Course Assignments:
•    Class Discuss Leader (2)
•    Reader Response Log (5 entries)
•    Community Literacy/Public Rhetoric Observation Report (1 Midterm Report)
•    Team Project & Presentation  (1)
•    Rhetorical Analysis Portfolio (2 Analysis Essays from one of the following contexts:)
o    Film
o    Poetry/Spoken Word
o    Theatre
o    Art
o    Music
o    Public Rhetoric/Community Literacy

Required Texts: (**Graduate Students Only)
Berger, Arthur Asa. Cultural Criticism: A Primer of Key Concepts. Sage Publications, 1995.
Goldblatt, Eli. Because We Live Here: Sponsoring Literacy Beyond the College Curriculum. Hampton Press, 2007.
Nystrand, Martin and John Duffy, eds. Towards a Rhetoric of Everyday Life: New Directions in Research on Writing, Text, and Discourse. University of Wisconsin, 2003.
** Thomas Rosteck, ed. At the Intersections: Cultural and Rhetorical Studies. London: Guilford Press, 1999.  (Graduate Students Only)

Recommended Text:
Raymond Williams. Keywords: A Vocabulary of Culture and Society. Rev. ed.  Oxford University Press, 1985.

Required Films: (Available at Zimmerman Reserve Desk)
Each of the following films is situated within various transcultural/transnational contexts. These very different narratives explore the social dynamics of shifting subject positions and the possibilities of transformative relationships across class, race, gender, and national boundaries.

10 Items or Less.
The Band’s Visit.
Il Postino.
Antonia’s Line.

Learning Outcomes:
Course readings, assignments, exercises, and class discussions are designed to promote the following learning outcomes:
•    Negotiate diverse discourse communities through oral and written communication;
•    Engage the analytical resources of rhetorical studies;
•    Apply concepts of cultural studies;
•    Analyze the use of genre in relation to the rhetorical, contextual, and ethical dimensions of communicative situations;
•    Examine and apply the principles of cultural criticism;
•    Guide and participate in class discussions of course readings;
•    Evaluate the interpretative resources of cultural studies;
•    Use the writing process as recursive stages (from invention to editing) for writing tasks;
•    Conduct observations and generate field notes of diverse cultural and rhetorical events;
•    Connect  learning to the rhetoric of everyday life;
•    Cultivate alliances with peers and work collaboratively toward common goals;

540.002: Scholarly Writing & Publishing
W 4:00-6:30
Michelle Hall Kells

“Shitty first drafts. . . . All good writers write them.” Anne Lamott

The scope of ENGL 540 Scholarly Writing and Publishing  includes guidance, mentoring, and workshop support for academic writing and publication toward cultivating job search-ready professionals in the field of Rhetoric & Composition.  This course is designed for graduate students in their second year (or beyond) in the Rhetoric & Writing Program. The focus of this course will center on revising, re-imagining and re-purposing work-in-progress projects for the:

•    MA Portfolio (preface and writing samples)
•    PhD Dissertation (proposal and chapters)
•    Professional Conference Presentations
•    Journal Articles
•    Book Projects

The Intellectual Life Cycle
We will engage the “intellectual life cycle” of academic writing, moving your projects from  “writers drafts” to “readers drafts.”  The ultimate outcome of the scholarly life is publication.  To “publish” means to make “public” (in other words, making visible and transparent the process, the data, the findings, and the interpretations of your research) to your peers and critics in the field. The peer review process is the deliberative process demanded of all stakeholders (novices and experts) within their area of academic specialization in order to gain entrée into the field. Your authority in the field is dependent on your success as an “author” (to generate new scholarship).

The project of Rhetoric and Composition Studies represents an exercise in mapping, tracing the process from rhetorical imagination to rhetorical efficacy.  Similarly, the measure of an academic career, is mapping this very same process. The apprenticeship of graduate school through the tenure review process is a journey tracking our trajectory of authority (influence).  We represent our growing authority through the accretion of intellectual projects, mentorships, accolades, honors, recognitions, and contributions we cultivate along the way. 

The Journey: Apprentice to Scholar
At first it seems like what we are doing is just gathering this stuff.  But in truth, we are giving up something of ourselves along the way (our time, energy, commitment, preconceptions, convictions, and doubts) and receiving something in exchange.  Lewis Hyde would describe this academic exchange as a deep engagement in a gift giving circle of the scholarly life.   “A gift that has the power to change us awakens a part of the soul. But we cannot receive the gift until we can meet it as an equal. We therefore submit ourselves to the labor of becoming like the gift” (The Gift: Imagination and the Erotic Life of Property 51).

What we don’t often confess to our graduate students (but I think we should) is that we (scholars, teachers, and mentors) are continuously being crushed—celebrated and critiqued—raised up and ground down at the same time, often for the very same thing.  In the dichotomy of deep commitment and deep doubt that is our intellectual operating space, we hopefully develop the judgment, intellectual poise, and discernment along the way to withstand the crushing pressure of recognition and criticism. In other words, we all need to learn to enjoy the successes and weather the rejection letters. Our intellectual life begins and ends in this crucible of critique. Fortunately, we all have ample reminders that humility wears better than hubris in our professional lives.

Writing in Community: We Don’t Get There Alone
When we are immersed in our graduate studies, obsessed with demonstrating intellectual excellence, preoccupied with building a competitive edge for the job market, it is easy to live a monadic existence and subscribe to the myth of individual exceptionalism. We can overlook the vital connections that sustain us now and will sustain us in the future. Who are our sponsors, the intellectual, social, and collegial sources of support? This course will help you cultivate those vital networks through your graduate program (and beyond). The connections formed in graduate school can be the most enduring professional relationships we ever have.

Making the Commitment
If you can’t make a commitment to write daily (and revise a set of work-in-progress projects) over the sixteen weeks of the semester, this course is not for you. You can’t fake it. You can’t procrastinate until the end of the semester to achieve the learning outcomes and goals of this course.  All students will be required to write five hours/week (one hour/day) and respond to the work of their peers (through weekly writing workshops). Assigned reading of academic publishing support resource materials will be limited to no more one hour/week. 

Course Requirements:
•    Student Learning Outcomes Contract (Your Goals and Plans for this Course);
•    Professional Research & Scholarship Portfolio:
o    The Five Year Plan: Statement of Research Program;
o    Curriculum Vitae;
o    Project Placement Plan & Target Journal Submission Guidelines;
o    (3) Work-In-Progress Projects for Workshop and Revision.
•    “Job Talk,” Dissertation or MA Portfolio Defense Presentation;
•    Professional Research & Scholarship Portfolio “Exit” Interview with Kells.

Work-In-Progress Samples (15-25 pages) can include the following genres:
-    MA Portfolio Samples (seminar papers);
-    MA Portfolio Reflection Essay;
-    Dissertation proposal;
-    Dissertation chapters;
-    Conference papers;
-    Journal articles;
-    Book proposal.

Required Readings:
The Thesis and the Book: A Guide for First-Time Academic Authors. Eleanor Harman et al eds. 2nd ed.
Getting Published: The Acquisition Process at University Presses. Paul Parsons.

541.001: English Grammars
R 4:00-6:30
Jill V. Jeffery

(Also offered as LING 441; Prerequisite: 240). This course presents a socioculturally informed framework for understanding grammar that emphasizes interplay between micro-level and macro-level discourse structures. Students in the course will examine relationships between English language variation, culture, and identity by analyzing diverse oral, written, and multi-modal texts. The course is designed to help students acquire a foundational, descriptive knowledge of English grammars that will support more effective teaching, learning, and interpretation of English. The culminating course assignment is a multi-modal research project regarding English language variation across time, space, and/or social strata. Graduate students will also present brief, interrelated discourse analyses and reflect on pedagogical implications.

542.001: Major Texts in Rhetoric
MW 2:00-3:15
Chuck Paine

545.001: History of the English Language
MW 2:00-3:15
Jonathan Davis-Secord

The English language can be traced back many centuries to a form nearly unrecognizable to most modern speakers.  Nonetheless, present day English still contains many significant features of its previous incarnations.  This course will examine the history of English from its Indo-European roots through its medieval developments to its modern, international forms.  In the process, students will learn methods of linguistic analysis and description along with the historical contexts of the developments.  No prior knowledge of Old or Middle English is necessary.

547.001: Introduction to Old English
MW 12:30-1:45
Jonathan Davis-Secord

In this class, we will return to the earliest recorded form of English and read some of the oldest literature ever written in the language.  We will read of a queen-turned-abbess, a divinely inspired cowherd, an exploration of the North, and the dangers of celebrity, all in the original Old English.  We will supplement these translations by exploring current scholarly approaches to Old English literature.  The first half of the semester will entail studying grammar in preparation for reading original texts.  For daily work during the second half, students will prepare translations and occasionally read scholarly articles.  No prior knowledge of Old English is required.

558.001: Modern British Literature
TR 2:00-3:15
Mary Power

559.001: Irish Literature
TR 11:00-12:15
Mary Power

568.001: The Atomic Bomb
W 4:00-6:30
Gerald Vizenor

568.003: American Literature at the Turn of the Century
TR 2:00-3:15
Kathleen Washburn

The recent turn to transnational, hemispheric, and global frameworks for literary analysis offers new possibilities for evaluating texts from the late-nineteenth and early-twentieth centuries. In this course, we will investigate modernity and its discontents during the turn from the Gilded Age to “the American century.” We will address how writers explore debates about immigration, imperial expansion, and technology as well as notions of the modern subject in the emergent discourses of psychology, anthropology, and sociology. From local color sketches and short fiction to large novels in serial form, we will pay particular attention to questions of scale and perspective. For instance, what relationships do various narratives construct between individual subjects and a larger social body? What are the effects of close or distant reading in an age of globalization? How does the persistent discourse of major/minor texts inflect critical models of interdisciplinarity or intersectionality? Which bodies of evidence do contemporary critics mobilize in order to map emergent literary structures from a previous century? We will focus on texts by S. Alice Callahan, Sara Orne Jewett, Stephen Crane, Queen Lili’uokalani, Mark Twain, Sui Sin Far, Frank Norris, and others, plus early Hollywood film. We also will address contemporary theoretical and cultural debates through the work of scholars such as Hsuan Hsu, Rachel Adams, Jodi Byrd, Wai-Chee Dimock, Franco Moretti, and Sharon Holland. Course requirements include active participation, a book review, and a research essay.

580.001: Dickens
TR 3:30-4:45
Gail Houston

582.001: Shakespeare and Cultural Transmission
T 5:00-7:30
Carmen Nocentelli

As part of a long chain of borrowings, adaptations, and appropriations stretching backward and forward in time, Shakespeare’s plays provide a crucial vantage point from which to investigate both the theory and the practice of cultural transmission. Shakespeare derived most of his material from other writers.  His plays, in turn, have been (and continue to be) imitated, contradicted, competed with, and adapted all over the word.  In addition to Shakespearean works such as The Comedy of Errors, Othello, King Lear, and The Tempest, we will likely read Plautus’ Manaechmi, Ovid’s Metamorphoses (selections), Giraldi Cinthio’s Hecatommithi (selections), Césaire’s Une Tempete, and Smiley’s A Thousand Acres. Cross-listed with COMP580.

587.002: Genre Studies: Poetry & Poetics
MW 5:30-6:45
M. R. Hofer

This semester-long genre course provides graduate students an advanced introduction to the art of poetry from a critical perspective. During the first eight weeks, we will focus on the sequence of discoveries that led from romanticisms to modernisms; in the second eight, we will consider a series of “late-” and “post-” modern case studies that emphasize “Objectivist” and “Projectivist” writing. Our goal throughout will be to understand a range of innovative and experimental practices of poetic making as well as the theories that have informed it. To this end, we will also be working together, especially during the first half of the course, to develop a shared set of formal interpretive skills, which will provide a fresh sense of literary history, analysis, and evaluation. The form of the final project may be analytical or evaluative, depending on the interests and needs of each student.
No prior experience with poetry criticism or poetic theory is required to succeed in this course, which is designed to help intellectually curious and adventurous students with an interest in either critical or creative writing (or both)
1) develop a nuanced appreciation of the continuing evolution of literary art,
2) acquire a range of strategies for approaching “difficult” texts with confidence, and
3) attain a refined vocabulary with which to address a important process of reading and thinking.
What you will learn in this course is thus meant to be portable to your other English classes—and, ideally, to your own literature (or writing) classrooms in the future.
N.B. Rather than requiring the purchase of an expensive yet fundamentally limited anthology, we will make frequent use of UNM’s subscription to The Columbia Granger’s World of Poetry as well as relevant online resources including PennSound, UBUWEB, Representative Poetry Online, and Eclipse, at the University of Utah website.

592.001: Teaching Literature and Literary Studies
W 4:00-6:30
Gary Harrison

This course/practicum introduces ways of approaching literary and cultural studies in theory and practice.  We will undertake a critical study of the formation and value of literary studies, linking that critical work to pedagogical theory and classroom practices.  Readings will include recent (some not so recent) essays on literary value, the formation of literary study as an institutional practice, approaches to teaching literature, and learning styles.  All course participants will be required to prepare and teach at least one section of a currently offered 200-level literature course, pre-arranged with the courses instructor of record. Requirements will also include several short papers and pedagogical exercises, as well as a teaching portfolio and teaching philosophy statement.

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650 001: Postcolonial Seminar
M 4:00-7:30
Feroza Jussawalla

This is a seminar in Postcolonial Theory and Literature, where we will explore the beginnings of Postcolonialism and see how the development of the theory leads to its interdisciplinary uses and to activism. PLEASE don’t be afraid of this class as being too advanced. We will begin with an introduction to colonialism and the subsequent history and development of “postcoloniality,” in the world at large, the beginnings of the literature and how it spawned a whole theory, now in use across the disciplines. In this class we will start with a very simple introduction to colonialism and postcolonialism from Ania Loomba’s Colonialism/Postcolonialism and progress to an anthology edited by Chrisman and Williams, entitled Colonial Discourse and Postcolonial Theory. We will learn about the terms Post-colonial and Postcolonial (without the hyphen) about "nation making" and the "location of cultures." We will be reading selections from Homi Bhabha's Location of Culture, Edward Said’s Orientalism and Culture and Imperialism, Appiah’s Cosmopolitanism. We will interrogate the applicability of “postcoloniality” in the globalized world and discuss the possibility of indigenous critical approaches such as “Occidentalism.”
Students will be allowed to choose a track of their own and work with “postcoloniality” within that track, so that if students wish to work with topics in Rhetoric or Creative Writing, they may choose to do so.

660.001 What is African American Literature?
T 4:00-7:30
Kadeshia Matthews

In What Was African American Literature? Kenneth Warren argues that African American literature was a product of the Jim Crow era, and therefore that it emerged more recently than scholarship generally admits and, more controversially, that it ended with the legal demise of Jim Crow in the 1950's and 60s.  Warren’s claims raise a number of questions, including, how do we then characterize the literature black authors produced before Reconstruction and after the Civil Rights era?  How important are race and racial identity to African American literature, and how important are legal and political events to defining black identity?  Does writing by black authors that privileges other markers of identity (gender, class, sexuality) necessarily fail as African American literature? 

In What is African American Literature? we will consider these and other questions.  Our goal is not so much to come up with a definitive answer to the “What is it?” question as to examine the recurring debates around attempts to define and delimit African American literature.  We will begin with Warren’s monograph and then study earlier iterations of this debate among African American authors and critics (black and white) of the literature. Both canonical and less-studied texts will ground our discussions of the literary-critical issues.  Requirements include active participation, a formal presentation and an article-length essay.

680.003: The English Arthur
R 4:00-7:30
Anita Obermeier

For many, King Arthur is the quintessential medieval British hero. This notion belies the fact that Arthur is a Celtic hero who had his genesis in a Latin chronicle and his major development in French romances. This seminar is going to examine the premier Middle English Arthurian works that feature a primarily English Arthur: the Arthur section of Layamon’s Brut and the Alliterative Morte. In contrast to those, we will also examine the Stanzaic Morte and parts of Malory’s Morte Darthur. We will explore thematic, historical, nationalistic, as well as poetic concerns, as several works belong to the alliterative tradition, to demonstrate how medieval English authors over a three hundred-year period utilize the Arthurian myths to express their developing sense of Englishness.

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<h1><a name="top" id="top"></a>Courses Spring 2012</h1>
 
   
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 <p>150.001: The Study of Literature <strong><br />
   </strong>CRN 15182 <strong><br />
   Click for course description<br />
   </strong> 
 TR 8:00 - 9:15<br />
 Bruce Carroll</p>
   
     <p>The purpose of  most disciplines is usually self evident: science is to know material reality  (at least ideally it is), philosophy is to know immaterial reality, history is  to know the events—in their order—of the lifetime of our species, business to  capitalize on the modern economy, etc. But what purpose does a study of the  arts serve? What is the purpose of literary study specifically? It is  interesting that we must ask this question, since literature pre-dates all the  above disciplines in every known human culture. Perhaps, then, the answer to  the question rests in the possibility that 'the story' is as natural to any  member of our species as is the affection we have for an aging parent, or the  motive to stay in touch with a distant cousin, or the longing we experience  when we remember a now estranged old friend or lover (whom we can't even locate  via Facebook).</p>
        <p>Every one of our  readings this semester explores some such facet of human experience, which no  other discipline is designed to explore. Seamus Heaney explores both the paths  and inevitability of death; Saul Bellow the tension between resentment against  and love for our parents; Sandra Cisneros the anguish of doomed love. From each  reading we should be able to glean one more small answer to our principal  question. And by semester's end, each of you will hazard an answer, and present  your answer as an argument, with support from the literature we've read, to your  classmates. "Literature is not things but a way to comprehend  things." So says someone quoted on page one of our textbook. The course's  central question, What is the purpose of literature, is designed to excavate  that 'way to comprehend things', those things being our relationships,  motivations, lives.</p>
        <p>You will write  five short response papers and one paper of average length. Apart from these,  daily participation is a significant part of your final grade.</p>
   
 
   <p>150.002: The Study of Literature <br />
     CRN 25928<br />
     MWF 9:00 - 9:50<br />
     Marissa Sikes</p>
 
   <p>English 150 is an introduction to  the study and appreciation of literature for non-English majors. This course  shows how understanding writers‟ techniques increases the enjoyment of their  works; relates these techniques to literary conventions; and teaches  recognition, analysis, and discussion of important themes.</p>
          <p>Outcomes: Upon completing English 150 students will be able to recognize and  analyze basic themes in literature; recognize and describe literary conventions  in the genres of poetry, fiction and drama; and   write brief essays in response to questions about literature.  These outcomes will be met through class  discussion of assigned texts during which we will apply literary terms to  various works, and through the assignment of increasingly longer papers that  will also increase in overall point value. Mastery of terms and themes is also  to be achieved in preparation for tests that consist of short definition and  passage identification and explication.</p>
 
 
 
 <p>220.001 Expository Writing<br />
   CRN 15451<br />
   MWF 8:00-8:50<br />
Natalie Kubaske
 </p>
 
 
 <p>220.002 Expository Writing: Poe's Tales<br />
   CRN 15452
     <br />
   MWF 9:00-9:50<br />
   Suzanne Richardson<br />
 </p>
 
   <p>This 220 will focus on reading the  entire works of Edgar Allan Poe including poetry, nonfiction, and fiction. By  reading one writer so completely we will explore the life, historical context,  literary genius, and failures of one man. Because Poe was a multi genre writer  we’ll be able to immerse ourselves in his preferred subject matter, voice, and  ideas from all angles. Through reading Poe’s works and a biography about him  alongside his works we’ll get a sense of the man, as well as the writer.  Projects required in this course are dense weekly readings, some biographical  readings, and in addition weekly reading responses via journal entries that are  shared on WEBCT. A midterm paper or presentation (6-8 pages in length) and a  final paper (8-10 pages in length) are required to complete this course. Paper  topics can range from in depth literary analysis of Poe’s work, essays which  compare and contrast Poe’s themes and subject matter, and personal essays that  explore the experience of reading his entire works. If you’re a fan, you’ll be  right at home. If you’re a skeptic, join us and see what Poe can do for you. </p>
 
 
 <p>220.003 Expository Writing: The Rhetoric of Bodies and Fashion<br />
   CRN 15459
   <br />
   MWF 11:00 - 11:50<br />
 Jamie Denison</p>
 
   <p>How is the relationship you have  with your body mediated through culture? Do you view your body through the gaze  of others? Where do expectations of being & ;muscular& ;, & ;slender& ;, or & ;beautiful& ;  come from? Does fashion serve other purposes beyond just consumerist tendencies  and social status? What can our bodies express in art and sartorial fashion that  cannot be expressed by language? We will be exploring these questions  throughout this course, analysing in various contexts how bodies are  manipulated, represented, mediated and used for expression and status. We will  look at the formation of body ideals of gender that stem from the  Enlightenment, the blurring of lines from transgender identities and intersex  bodies, the sociological and artistic interests in fashion, and theories  concerned with expression through movement, thus revealing how something as material  as the body is often experienced through & ;abstract& ; developments of theory and  imagination.</p>
          <p>Students will be reading articles  from a range of disciplines, including philosophy, cultural studies,  psychoanalysis, literary theory, film theory, sociology, art history, and dance  theory. The major projects will include a visual analysis, a dance performance  review, a fashion show review, and an ethnography. Although we will be focusing  on the relationship between subjectivity, body, and culture throughout the  semester, each project will reveal a new rhetorical situation to be analyzed  that emphasizes specific aspects of this connection. By the end of the class,  students should have a significant understanding of how bodies are used and  related to in our culture, and specifically how we can use writing to  articulate those interactions. </p>

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   <p>English 220 is an expository writing  course designed to hone and advance your academic and critical reading and  writing skills. In this section, we will focus on the genre of book-length  comics and assess their value as works of art and literature. We will look  specifically at graphic memoirs as a medium for conveying stories from the  artist-author’s life; we will also look at how aspects of history and culture  serve as a backdrop for these stories. Naturally, we will examine how pictures  and words work together to enrich a text. Given that comics is so often viewed  as a childish genre, we will give ample consideration to the target audience  for such works. Does the use of pictures allow for a broader readership? Is the  storyline ever made more simplistic because of the dependency on pictures? Do  the pictures clarify certain elements of the written text or add complexity and  depth to the artist-author’s perspective? Does the style of the artwork affect  the readability of the book?</p>
          <p>While the bulk of our reading will  be graphic works, we will also look at a few traditional essay-length memoirs  for comparative purposes. Our writing assignments will arise from our  discussions and analyses of readings, and we will also work on a graphic  project of our own. (Yes, I know this isn’t an art class! The quality of your  artwork won’t be part of your grade; your effort will.) Texts include Maus I,  Persepolis I, and Fun Home, as well as Understanding Comics. </p>
        
 
   
 <p>220.005<strong></strong> Expository Writing<br />
   CRN 
   15458    <br /> 
   MWF 12:00 - 12:50<br />
   Katie Pelletier</p>
 
   <p>In a 2007 <em>New York Times</em> essay, Steven King writes that while the American Short Story is still & ;alive& ;  it is no longer & ;well.& ; He says that the short story is & ;apt to deteriorate in  the years ahead,& ; but that short stories do still matter. Do you agree? What is  the American Short Story? Is the American Short Story still relevant? To whom?  In this English 220 section we will investigate the short story genre, its  conventions, and innovations. We will read a variety of American short stories  from Hawthorne and Poe to selections from recent editions of & ;The Best American  Short Stories.& ; We will also view and analyze film adaptations of American  short stories, investigating the way in which context might shape the genre and  other rhetorical decisions made by short story writers and film directors.</p>
          <p>Discussions and writing assignments  will develop facility interpreting visual and written rhetoric, advance  critical thinking skills, and further improve your ability to write and present  ideas and arguments. We will write film reviews, literary analyses, proposals,  reading responses, and at the conclusion of the course, a critical research  essay on a relevant topic of the student& ;s choice. </p>
        
 
 <p>220.006<strong></strong>  Expository Writing: The Rhetoric of Revolution<br />
   CRN 33391
       <br /> 
   MWF 4:00 - 4:50<br />
 Daoine Bachran</p>
 
   <p>The world changes. Boundaries shift,  laws are written and struck from the books. People make this happen. Writers.  Speakers. Activists. Lawyers. Rulers. Peasants. College students. Why do people  feel the need to shape their world? Why do they risk everything to change what  they see as unjust? And most importantly, how do they manage this change? This  class will investigate these questions as it teaches you (hopefully) to be the  shaper of your own world with writing. We will look at the arguments of  writers, artists, poets, web-site designers, and try to synthesize their  persuasiveness and claim it as our own. You will learn to write for college,  yes, but more importantly, I hope that you will learn to write for change, for  improvement in your life and the lives of those around you.</p>
 
    
     <p>220.007  Expository Writing: Women and Film<br />
       CRN 42452
               <br />
        MWF 1:00 - 1:50<br />
        Carmen Halstead</p>
        
          <p>Writing  assignments in the course will focus on women’s cinema and women’s relationship  to film. What do films reveal about us as human beings? How do cinematic  representations provide insight to social roles and norms? How do we interpret  depictions of women’s power and sexuality? Historically and culturally how have  women’s roles altered in the collaborative process of cinematic creation?  Through film viewings, class discussions, research presentations, and written  responses we’ll seek to answer these questions for ourselves. We’ll analyze and  interpret visual, written, and oral rhetoric while developing research  strategies and evaluating both primary and secondary sources. Students will  have the opportunity to explore their own individual research interests in  film. We’ll examine women’s role in cinema from silent films and film noir to  Classic Hollywood to current female directors and international cinema. This  course will develop our understanding as writers of rhetorical situations and  will help students develop sophisticated written interpretations<br clear="all" />
          </p>
          <p>& ;</p>
        
        
        
        
        <p>220.008 Expository Writing: Transforming Genre Through Sherlock Holmes<br />
       CRN 42487
         
         <br />
         CRN 37160
         <br />
        TR 5:00 - 6:15<br />
        Olubunmi Oguntolu </p>
        
          <p>From text to screen Sir Arthur Conan  Doyle's Sherlock Holmes reflects the transforming Victorian world, prosperity  swaddled in poverty. Through Holmes, Conan Doyle provided and continues to  provide social insight and political commentary to the world of his readers.  What then does the world of Sherlock Holmes say about us? How is it that  Sherlock Holmes remains in our modern world? Since his creation, Conan Doyle's  great detective has continually been the subject of stage, film, and television  through adaptation and homage. As we unlock the world of Sherlock Holmes, we  will use Holmes' world to unlock mysteries of writing. We will examine literary  devices such as plot, setting, and characterization along with cinematic  techniques such as <em>mise en scène</em>, cinematography, and editing constructs  to explore Conan Doyle's social commentary and how film and television  directors manipulate storytelling elements to adapt literary text to screen.</p>
          <p>In this course we will read Conan  Doyle's entire Sherlock Holmes canon and examine plays, graphic novels,  television serials, and films adapted from Conan Doyle's text. Our writings  will include research journals for analyzing supplemental sources; persuasive  letters between Holmes and figures outside the texts; and argumentative  articles, critical essays, and visual analyses evaluating the texts and topics  we will discover through the world of Sherlock Holmes.</p>
        
 
    
 <p>220.011 Expository Writing: War and Peace<br />
   CRN 25939    <br /> 
   TR 12:30 - 1:45<br />
   Kyle Fiore</p>
 
   <p>For more than half our lives, the  United States has been at war. This class will investigate war and its  day-to-day effects on us and our culture. We will also consider peace and other  alternatives to war and violence as these alternatives have happened both here  at home and abroad. We will read, write about, look at, listen to and evaluate  materials by writers, film makers, politicians and artists. We will investigate  how authors of war and peace shape their documents for different audiences and  analyze the strategies they employ, such as logos, ethos and pathos, to advance  their points of view. Resources will include Tim O'Brian's & ;The Things They  Carried& ;, the United States Peace Index, and Sebastian Junger's blog on  Afghanistan, as well as TV shows, movies and documentaries. We will also  consider letters, news articles, and political speeches.</p>
          <p>To write about war and peace, we will  investigate the many forms in which nonfiction authors, reporters and artists  portray these related aspects of life: oral history, essays, film, photo  essays, radio shows, digital presentations, and comics, to mention a few. We  will read and analyze these diverse forms of documentation, considering the  interplay between the medium and the message, or story that it portrays.</p>
        
 
    
 <p>220.012<strong></strong> Expository Writing: Religion and American Culture<br />
   CRN 
   25940    <br /> 
   TR 9:30 - 10:45<br />
 Jeremy Ricketts</p>
 
   <p>This advanced expository writing class  will operate under the premise that religion and American culture are  inextricably linked and their interrelation has important consequences for  culture, politics, and society in general. Whether we identify with a major  religion, a minor religion, a spiritual tradition, or no religion, the cultural  landscape teems with religious and spiritual meaning and signs. In this  writing-driven course, we will examine a multiplicity of texts to try and  unravel the ways in which religion and American culture are intertwined and the  implications of this relationship. Students will write numerous short papers  and embark in a semester-long writing process that will culminate in a final  research paper that draws together the major themes of the course. Through the  examination of primary and secondary sources, we will analyze how religion has  played a role in shaping America. By closely analyzing literature, films, and  other media, we will seek to recognize how an analysis of American history and  culture is inextricably intertwined with an analysis of religion. </p>
 
 
 <p>220.021 Expository Writing: Conquistadors,  Katsinas, Lowriders &amp; the Bomb: Discourses of Identity in 21st Century New  Mexico<br />
   CRN 15463
   <br />
   Online
   <br />
   Elise Trott</p>
 
   <p>For centuries, the state of New  Mexico has been a site of intense conflict and negotiation over issues of race,  culture, and identity. In official state discourses, New Mexico is represented  as a place of & ;tri-cultural harmony,& ; where Native American, Nuevomexicano (or  Hispanic/Latino), and Anglo populations separately and happily coexist.  However, the rhetoric of & ;tri-cultural harmony& ; over-simplifies the complex  realities of ethnic identity in New Mexico while attempting to hide the state& ;s  history of conflict and colonialism. In this course, we will examine and  interrogate discourses of & ;tri-cultural harmony& ; and their relationship to  structures of power and inequality. Where are these discourses found and in  what forms? How do they represent or misrepresent the historical roots and  everyday experience of ethnic identity for New Mexicans? What are the purposes  of these discourses and how do they impact the lives and political  possibilities of New Mexico& ;s citizens? </p>
          <p>Throughout the course, we will  examine the varied ways in which different discourses of identity are deployed  in the contexts of tourism, natural resource conflicts, political struggles and  artistic expression. Students will learn to read, analyze, and respond to a  variety of challenging contemporary texts, both written and visual. These will  include academic analysis, literature, maps, museum exhibits, art and  consumption (such as murals, graffiti, and lowrider culture), as well as  political rhetoric. Over the course of the semester, students will engage in  ethnographic activities, such as observation and interview, in addition to both  analytic and personal writing. The course will culminate in an ethnographic  project in which students will identify a site of discourse around New Mexican  identity and investigate its meanings, purposes, and implications. </p>
        
 
 
    
 <p>220.022 Expository Writing: Pop-Culture Archetypes<br />
 CRN 37160<br />
 TR 5:00 - 6:15<br />
 Caroline Gabe</p>
        
         <p>Using examples from current and past  popular culture, this course will explore the classical archetypes that help to  create timeless figures. The course will introduce students to the connection  between our contemporary culture and historic, mythological, and iconic  archetypes. Well known books and movies like <em>Lord of the Rings</em>, <em>Star  Wars</em>, <em>Harry Potter</em>, and even <em>The Hunger Games</em> incorporate a  standard set of archetypical characters. Both the historic roots and modern  implications of such archetypes will be explored and critiqued in this course. </p>
            <p>The class will be divided into two  halves. The first portion of the semester is focused on exploring and  researching traditional archetypes in relation to both past and present  examples. Instead of focusing solely on what Jungian archetypes should be included  in a well written narrative, this class will take a more anthropological and  historic slant on the concept. The first third of the course will be divided  into 3-4 week sections that explore individual archetypes, culminating in short  essay assignments where the students evaluate information and present their  perspective on a topic. After a basic repertoire of possible archetypes is  available to the students, another sequence will compare the use of specific  archetypes in past & ;pop culture& ; based on the rhetorical, historical, and  cultural situations in which they were developed. This activity will explore  how the historic context and likely audience affect an archetype. Both halves  will help lay the foundation for students to find and analyze characters in  individual research for the final semester project. </p>
        
 
    
 <p>220.031<strong></strong> Expository Writing: Folklore<br />
   CRN 15461
     
     <br />
   TR 11:00 - 12:15<br />
 Nicholas Schwartz</p>
        
          <p>Because English 220 is a writing  course, the class will be concentrated on writing before  anything else. The writing in the class will, however, be focused on a  particular area of study: folklore. The wide field of folklore is one which  invites us to practice analyzing and explaining, for folklore—by which I mean  riddles, myths, urban legends, fairy tales, etc.—does not merely consist of  stories told solely to entertain others. These cultural artifacts hold within  them the values, anxieties, and prejudices of the society which produced them.  Furthermore, the formulaic nature of much of the examples of folklore which  have survived suggests that in many ways we, in the 21st Century,  are not that all dissimilar from people in previous ages—especially when it  comes to those emotions most basic to all of us: love and fear (especially of  the unknown).</p>
        
    
    
 <p> 220.032<strong></strong> Expository Writing: Travel and Adventure in Medieval Literature<br />
   CRN 15454
       <br /> 
   TR 2:00 - 3:15<br />
   Colleen Dunn
   <p>This course will explore the themes  of adventure and travel in medieval literature, beginning chronologically with  the Old English poem & ;The Wanderer& ; and ending with the Middle English <em>Alliterative  Morte Arthure</em>. In the beginning of the semester, students will first  consider concepts of & ;home& ; in order to establish a framework within which they  can understand the two larger themes of this course. Once the foundation is set  for understanding medieval ideas of & ;home,& ; students will then focus on pieces  of literature that represent the various motivations medieval figures had to  leave home, such as: adventure, glory, pilgrimage, and war. </p>
          <p>Ultimately, the goal is to bring  these texts together to understand the different ways in which travel and  adventure can both reflect and create a sense of social identity. Over the  course of the semester, students will address this topic in three major writing  assignments, including a rhetorical critique, a research journal, and a  literary analysis. </p>
          
 
    
 <p>220.033<strong></strong> Expository Writing: Relationship Advice in Popular Culture<br />
   CRN 15457
       <br /> 
   TR 5:00 - 6:15<br />
   Annarose Fitzgerald<br />
 </p>
 
   <p>In this 220 section, you will  advance your critical thinking skills through the reading, writing, and  analysis of texts that portray the silent yet understood rules governing  interactions with family, friends, romantic partners, professional colleagues,  and the people we meet at the bus station. By writing for, about, and with  various texts that create and reflect the societal norms for relationship  dynamics, you will engage with the core writing outcomes on an intermediate  level and build on the foundation laid in 100-level composition. </p>
          <p>We'll be examining academic and  popular articles, film clips, song lyrics, and other texts that articulate how  relationship dynamics work: from friendship to romance, spouses to siblings,  roommates to neighbors.Through readings, class discussions, and written  responses on a variety of styles and genres of texts, we’ll explore the voices  that have shaped—and continue to shape—our understanding of relationship  dynamics in today’s world and work on developing voices of our own. </p>
        
 
    
 <p>220.035 Expository Writing: Media and Popular Culture<br />
   CRN 39295
     
     <br />
   <strong></strong>MWF 1:00 - 1:50<br />
   Ashley Carlson</p>
 
   <p>What do <em>The Daily Show</em>, <em>Twilight</em>,  Rihanna, and <em>The Hangover</em> have in common? They are all extremely popular  and they all reflect and define aspects of American culture and values. This  course will examine trends in current popular media, including television,  film, music, bestselling books, and even advertising. We will read critical  essays about media and culture and conduct our own case studies. We will  discuss how various media portray gender, race, and class, and ask what  messages they convey about social norms. Grades will be based on class  participation, regular short assignments, and three major essays.</p>
          <p>Required Text: Dines, Gail. <em>Gender,  Race, and Class in Media: A Critical Reader </em></p>
 
 
 
     <p>220.036 Expository Writing<br />
   CRN 15464
       <br /> 
   Online<br />
   Julie Williams</p>
   
   <p>In  this course we& ;ll explore writings about landscape and environment, with the  goal of helping students to think critically about the politics of place. We  will look at both recent and foundational texts that help define the & ;West& ;, a  concept that has changed both geographically and ideologically in the American  imagination throughout our country& ;s history. We will first explore the complex  relationships between humans and their environment, looking at ways that  & ;nature& ; are reflected, constructed, and deployed in American literature and  culture. Second, in order to learn more about the places we live, we& ;ll put the  tools of nature writing to work, using observation, memory, exploration,  research, analysis, and expression to explore the landscapes we inhabit here in  New Mexico.</p>
          <p>Some  questions that will guide our inquiries into the politics of landscape: What  are the origins for various American myths about nature and landscapes, and  what are the modern day consequences? How have notions about frontiers and  empire impacted the way contemporary cultures view nature? How do relationships  between humans and their environments reflect and shape literature and culture?  How do gender, race, ethnicity, and class shape an author& ;s standpoint toward  landscape?</p>
        
         
 
    
 <p><a name="224" id="224"></a>224.001 Introduction to Creative Writing<br />
   CRN 34600
   <br />
     MWF 10:00 - 10:50<br />
     Adam Nunez
 </p>
    
    
 <p>224.002 Introduction to Creative Writing<br />
   CRN 34601<br />
   MWF 1:00 - 1:50<br />
   Katie Pelletier
 </p>
    
       
     <p>224.003 Introduction to Creative Writing<br />
       CRN 34602
       <br />
       TR 11:00 - 12:15<br />
       Tanaya Winder
     </p>
       
        <p><a ="#224">224 | 300 level</a> | <a ="#400">400 level</a> | <a ="#500">500 level</a> | <a ="#600">600 level</a> |<a ="#top"> top</a></p>
    
 <p>224.004 Introduction to Creative Writing<br />
   CRN 34603
   <br />
 MWF 5:00 - 5:50<br />
 David Rubalcava
 </p>
    
    
 <p>224.005 Introduction to Creative Writing<br />
   CRN 34604
     
     <br /> 
   MWF 11:00 - 11:50<br />
   Laurel Coffey
 </p>
 
   <p>Through close readings of  contemporary writers, we will systematically examine the craft elements of  image, voice, character, setting, and story, thereby stocking our writerly  toolboxes with these skills during the first half of the semester. In the second  half of the semester, we will write fiction, nonfiction, and poetry pieces  using these learned craft elements. You should expect the workload for this  course to consist of daily reading assignments, short focused writing  exercises, and oft-revised original writing in all three genres collected into  the final portfolio. My class will prepare you for future workshops and teach  you how to approach, analyze, and glean the best morsels from a piece of  writing.</p>
 
 
    
 <p>224.006 Introduction to Creative Writing<br />
   CRN 34605
       <br /> 
   TR 9:30 - 10:45<br />
   Sharon Warner
 </p>
 
   <p>Introduction  to Creative Writing:  A beginning course  in the writing of fiction, poetry, and creative nonfiction.  Introduces issues of craft, workshop  vocabulary, strategies for revision, and the habit of reading as a writer</p>
          <p>In  keeping with the catalog description, we will begin with issues of craft  applicable to all three genres.  Thus, we  will spend the first five weeks of the semester on <em>image, voice, character, setting, </em>and<em> story.</em>  Writing exercises  and readings will augment our discussions of these & ;areas of imagination,& ;  as  Janet Burroway refers to them.</p>
          <p>In  the second six weeks, we will turn our attention to the processes of  development and revision.  How do  creative writers draft and revise a piece?   How do creative writers decide whether the material is most suited to  the genre of fiction, poetry, or creative nonfiction?  At this point in the semester, we& ;ll begin  our exploration of the three genres, using both reading and writing to guide  us.   By then, you& ;ll have completed a  number of exercises and journal entries, and these will become the fodder for  the short fiction, poetry, and essays you produce.  You& ;ll have the opportunity to try your hand  at all three, not to prove your mastery but your mettle.  We& ;ll write one short-short story, one short  essay, and a smattering of poems.  </p>
          <p>Every  class session will include both writing and reading.  They are equally important and, in fact,  inextricable. While writing can be viewed as a solitary occupation it& ;s actually  a collaborative act. Best to know from the get-go that whatever you write will  be influenced by all that you& ;ve read.   But you needn& ;t take my word for it.    Here are words to the wise from several masters:</p>
          <p>& ;Learning  to write may be part of learning to read.    For all I know, writing comes out  of a superior devotion to reading.& ; & ;Eudora Welty</p>
          <p>& ;I  never desire to converse with a man who has written more than he has read.& ; & ;Samuel Johnson</p>
          <p>& ;The  best training is to read and write, no matter what.& ; & ;Grace  Paley</p>
          <p>TEXTS:  Burroway, Janet.<em> Imaginative Writing: Elements of Craft.</em> 3rd Edition. Penguin Academics, 2011<br />
            Henderson, Bill, <em>Pushcart  Prize XXXVI: Best of the Small Presses.</em>   Pushcart  Press.</p>
    
    
 <p>224.007 Introduction to Creative Writing<br />
   CRN 34606
   <br />
   MWF 9:00 - 9:50<br />
   Elizabeth Tannen
 </p>
    
    
    
 <p>224.008 Introduction to Creative Writing<br />
   CRN 34607
   <br />
   TR 5:00 - 6:15<br />
 Natalie Scenters-Zapico</p>
    
    
 <p>224.009 Introduction to Creative Writing<br />
   CRN 41209
   <br />
   Online<br />
   Lisa Chavez
 </p>
        
          <p>This online introductory course will  introduce students to the craft of writing literary fiction, poetry, and  creative nonfiction.  We will begin with  issues that all genres share, and then go on to look at some of the conventions  of the individual genres.  Students  should be prepared to learn to read like a writer, to try out a lot of  different exercises, to learn the art of revision, and to write in all three  genres.  I also expect lively online  discussion of the assigned readings, and there will also be an introduction to  peer review in small groups.</p>
          <p>A final portfolio will include work in  all three genres that has been revised during the course.</p>
        
        
    
    
 <p>240.001 Traditional Grammar<br />
   CRN 15894
   <br />
 TR 5:00 - 6:15<br />
 Melissa Huffman
 </p>
    
    
     <p>240.002 Traditional Grammar<br />
       CRN 21792<br />
       MWF 12:00 - 12:50<br />
       Calinda Shely
     </p>
    
 <p>248.001 Heroes of the Middle Ages<br />
   CRN 21792
   <br />
   MWF 2:00 - 2:50<br />
   Lisa Myers
 </p>
 
   <p>Ever  since its inception in the Middle Ages, the legend of Robin Hood has captivated  audiences and each generation has reworked the original tales of jolly ol’  England and the famous forest outlaw to suit its own ideological needs. Robin  Hood has served as a figure in popular ballads, a Disney cartoon fox, a comedic  movie character, a swashbuckling hero and as the subject of graphic novels and  comic books. This course will study the development of the Robin Hood legend  from its earliest forms in medieval England, examining the historical evidence  of an original Robin Hood as well as the evidence for a mythic origin. The  course will mainly focus on the various reiterations of the Bandit of Sherwood  and how the numerous imaginings relate to social and cultural changes. Graded  assignments include two exams and two short papers. Anticipated texts include: <em>Robin Hood and Other Outlaw Tales</em>, <em>Robin Hood: A Mythic Biography</em> by  Stephen Knight, <em>The Adventures of Robin  Hood</em> by Howard Pyle (children’s book), <em>Robin  Hood: Men in Tights</em> (movie), <em>Outlaw:  The Legend of Robin Hood</em> by Tony Lee (graphic novel). Some materials are  available online or in e-book editions for free.</p>
 
    
 <p>250.001 Analysis of Literature<br />
   CRN 15876
   <br />
   MW 5:00 - 6:15<br />
   Paul Formisano
   <br />
 </p>
 
   <p>This course  aims to provide you with a number of useful tools to better understand  literature and its various genres including poetry, short stories, non-fiction  essays, and plays. You will learn specific terms relevant to each genre along  with key concepts of some of the major theoretical movements that have shaped  literary scholarship over the last century like Formalism, Deconstruction,  Marxism, Feminism, and Ecocriticism. Assignments will include short written  responses, group discussions and activities, and longer writing assignments  that will allow you to demonstrate your own understanding and engagement with  course readings and the theoretical principles discussed throughout the  semester. </p>
 
    
      <p> 250.002 Analysis of Literature
        <br />
        ARR<br />
        Gail Houston
      </p>
      
        <p>English  250.011, .012, .013, .014 is an online course that introduces students to  literary studies. This course assumes that the study of literature is a formal,  academic field with rules and conventions of its own that require skills in  close analysis, critical thinking and writing. There are many approaches to  literature that are currently being practiced in the field of English. In this  class, we will focus on some of those theoretical approaches and you will use  them to analyze works of literature, including, Formalism, Deconstruction,  Feminism, Marxism, and Psychoanalytic theory. We will also study literary  examples of three major genres:  fiction,  drama, and poetry. In addition, to help the student learn the conventions of  the academic field of literature, the student will be expected to learn general  literary terminology.  </p>
        <p>You  will do the following in this class:<br />
          l.) Read and discuss literary texts  carefully and articulate your ideas about the reading through various forms of  homework and class activities<br />
          2.) Demonstrate knowledge of key  literary terms and genres through taking 3 quizzes<br />
          3.) Learn to apply a variety of  critical approaches to the texts, and, using those approaches, demonstrate your  ability to develop an original generalization or thesis about a literary work  or works and support it with specific evidence from the text(s);<br />
          4.) Practice skills involved in  writing and revising formal papers that analyze literature through using a  particular theory.</p>
        <p>TAs:<br />
          Kate  Alexander <a =" :kalex@unm.edu">kalex@unm.edu</a> <br />
          Christine  Kozikowski <a =" :ckozikow@unm.edu">ckozikow@unm.edu</a> <br />
          Calinda Cae Shely <a =" :cshely@unm.edu">cshely@unm.edu</a></p>
      
      
 <p>250.003 Analysis of Literature
   <br />
   ARR<br />
   Katherine Alexander
 </p>
 
   <p>English  250.011, .012, .013, .014 is an online course that introduces students to  literary studies. This course assumes that the study of literature is a formal,  academic field with rules and conventions of its own that require skills in  close analysis, critical thinking and writing. There are many approaches to  literature that are currently being practiced in the field of English. In this  class, we will focus on some of those theoretical approaches and you will use  them to analyze works of literature, including, Formalism, Deconstruction,  Feminism, Marxism, and Psychoanalytic theory. We will also study literary  examples of three major genres:  fiction,  drama, and poetry. In addition, to help the student learn the conventions of  the academic field of literature, the student will be expected to learn general  literary terminology.  </p>
          <p>You  will do the following in this class:<br />
            l.) Read and discuss literary texts  carefully and articulate your ideas about the reading through various forms of  homework and class activities<br />
            2.) Demonstrate knowledge of key  literary terms and genres through taking 3 quizzes<br />
            3.) Learn to apply a variety of  critical approaches to the texts, and, using those approaches, demonstrate your  ability to develop an original generalization or thesis about a literary work  or works and support it with specific evidence from the text(s);<br />
            4.) Practice skills involved in  writing and revising formal papers that analyze literature through using a  particular theory.</p>
          <p>TAs:<br />
            Kate  Alexander <a =" :kalex@unm.edu">kalex@unm.edu</a> <br />
            Christine  Kozikowski <a =" :ckozikow@unm.edu">ckozikow@unm.edu</a> <br />
            Calinda Cae Shely <a =" :cshely@unm.edu">cshely@unm.edu</a></p>
        
 
    
      <p>250.004 Analysis of Literature<br />
        ARR<br />
        Christine Kozikowski
        <br />
        </p></p>
      
        <p>English  250.011, .012, .013, .014 is an online course that introduces students to  literary studies. This course assumes that the study of literature is a formal,  academic field with rules and conventions of its own that require skills in  close analysis, critical thinking and writing. There are many approaches to  literature that are currently being practiced in the field of English. In this  class, we will focus on some of those theoretical approaches and you will use  them to analyze works of literature, including, Formalism, Deconstruction,  Feminism, Marxism, and Psychoanalytic theory. We will also study literary  examples of three major genres:  fiction,  drama, and poetry. In addition, to help the student learn the conventions of  the academic field of literature, the student will be expected to learn general  literary terminology.  </p>
        <p>You  will do the following in this class:<br />
          l.) Read and discuss literary texts  carefully and articulate your ideas about the reading through various forms of  homework and class activities<br />
          2.) Demonstrate knowledge of key  literary terms and genres through taking 3 quizzes<br />
          3.) Learn to apply a variety of  critical approaches to the texts, and, using those approaches, demonstrate your  ability to develop an original generalization or thesis about a literary work  or works and support it with specific evidence from the text(s);<br />
          4.) Practice skills involved in  writing and revising formal papers that analyze literature through using a  particular theory.</p>
        <p>TAs:<br />
          Kate  Alexander <a =" :kalex@unm.edu">kalex@unm.edu</a> <br />
          Christine  Kozikowski <a =" :ckozikow@unm.edu">ckozikow@unm.edu</a> <br />
          Calinda Cae Shely <a =" :cshely@unm.edu">cshely@unm.edu</a></p>
      
    
    
 <p>250.005
   <br />
   ARR<br />
   Calinda Shely
 </p>
 
   <p>English  250.011, .012, .013, .014 is an online course that introduces students to  literary studies. This course assumes that the study of literature is a formal,  academic field with rules and conventions of its own that require skills in  close analysis, critical thinking and writing. There are many approaches to  literature that are currently being practiced in the field of English. In this  class, we will focus on some of those theoretical approaches and you will use  them to analyze works of literature, including, Formalism, Deconstruction,  Feminism, Marxism, and Psychoanalytic theory. We will also study literary  examples of three major genres:  fiction,  drama, and poetry. In addition, to help the student learn the conventions of  the academic field of literature, the student will be expected to learn general  literary terminology.  </p>
          <p>You  will do the following in this class:<br />
            l.) Read and discuss literary texts  carefully and articulate your ideas about the reading through various forms of  homework and class activities<br />
            2.) Demonstrate knowledge of key  literary terms and genres through taking 3 quizzes<br />
            3.) Learn to apply a variety of  critical approaches to the texts, and, using those approaches, demonstrate your  ability to develop an original generalization or thesis about a literary work  or works and support it with specific evidence from the text(s);<br />
            4.) Practice skills involved in  writing and revising formal papers that analyze literature through using a  particular theory.</p>
          <p>TAs:<br />
            Kate  Alexander <a =" :kalex@unm.edu">kalex@unm.edu</a> <br />
            Christine  Kozikowski <a =" :ckozikow@unm.edu">ckozikow@unm.edu</a> <br />
            Calinda Cae Shely <a =" :cshely@unm.edu">cshely@unm.edu</a></p>
 
 
        
 <p>265.001 Introduction to Chicano/a Literature
   <br />
   MWF 10:00 - 10:50<br />
   Daoine Bachran
 </p>
 
   <p>A survey of Chicana/o novels, short  stories, essays, poetry, and drama from nineteenth century to the present, with  emphasis on major themes such as history, culture, identity, language, and  region. </p>
        
        
          <p>290.001 Introduction to Professional Writing<br />
            CRN 15901
            <br />
            MWF 1:00 - 1:50<br />
            Jim Burbank
            <br />
 </p>
 
   <p>This course introduces students to  the various genres and situations the professional writer encounters in the  workplace. Students prepare for the Professional Writing Internship Program.  Interns, internship mentors, and professionals present to the class to  familiarize students with career opportunities in the diverse fields of  Professional Writing. The course provides a solid preparation for students  considering how their various career paths can involve Professional Writing. </p>
 
 
    
 <p>290.002 Introduction to Professional Writing
   <br />
   TR 5:00 - 6:15<br />
   Stephen Benz
   <br />
 </p>
 
   <p>The main purpose  of ENGL 290 is to give you a basic understanding of what professional writers  and editors do. This course introduces you to the practices and procedures of  professional writing and editing. It also covers career opportunities available  in professional writing. You will learn about expository writing style,  persuasion, and document design. You will also learn how to deal with ethical  situations that often arise in corporate, professional, private, and public  workplaces.<br />
     Projects in this  course will guide you through the process of document development and introduce  you to the most common genres of workplace writing. These projects are designed  to help you create some initial materials for a portfolio you can use when  looking for an internship or employment in the field.</p>
 
    
    
 <p>293.001 World Literature 17th Century through the Present<br />
   CRN 25952
   <br />
   MWF 9:00 - 9:50<br />
   Stacy Kikendall
 </p>
        
          <p>This course  will introduce students to a representative sample of influential works from a  variety of the world& ;s cultural traditions from approximately 1700 to the  present. We will examine the works by historical period and the general theme  of boundary crossing. We will read major authors/texts from the Americas,  Africa, India, China, Japan, Egypt, and Europe, including (but not limited to)  Lady Mary Wortley Montagu, Swift, Voltaire, Olaudah Equiano, Matsuo Basho,  Rousseau, Coleridge, Mori Ogai, Rabindranath Tagore, Wole Soyinka, Dostoevsky,  Joyce, Walcott, and V.S. Naipaul. In addition, in order to situate the texts  within a larger cultural and historical context, we will read several & ;In the  World& ; sections from the Bedford Anthology. Assignments will include several  exams, five shorter writing assignments, and a presentation. </p>
        
    
    
     <p>293.002 World Literature 17th Century through the Present<br />
       CRN 40619
       <br />
       TR 11:00 - 12:15<br />
       Jennifer Nader
       <br />
     </p>
        
          <p>This course seeks to explore the  balance between identity and difference across and within cultures, and will  introduce you to some of the most important literary works from a variety of  the world’s cultural traditions, from about 1700 to the present.  Our readings will be organized by historical  period, with a general theme of crossing cultural boundaries, especially  through travel.  We will read major works  by authors from Africa, India, Bangladesh, China, Japan, Europe, America, and  Russia, and will work to interrogate the complex negotiations of identity in  cultural contact zones by placing texts in continual conversation with each  other.  Initially we will look at both  fictional and non-fictional narratives of travel in the eighteenth century, and  will then shift to looking at radical Otherness of the supernatural and fantastic  briefly. We will then shift our focus to the nineteenth and twentieth centuries  and will consider the effects of identity, colonization, and globalization, as  well as race, class, and gender while acknowledging multiple points of view.  Throughout the course, we will consider the  impact of the past on our own present global culture, and how things are  intricately woven together.</p>
          <p><strong>Objectives</strong><br />
            By participating in class  discussions, writing several short papers and taking a midterm and final  examination, students will engage in a dialogic and reflexive conversation  about literary texts.  Students will  analyze, contextualize, and compare and contrast literary and extra-literary  works from diverse traditions, show how those texts are related to their places  and times of origin, and identify recurrent themes, motifs, genres, and  literary movements.  Students will also  identify and evaluate the relationships among those works, as well as what  makes each work distinctive.  In  addition, students will be introduced to and discuss problems of translation  and transculturation, and they will learn to recognize and evaluate the  rewards, as well as the problems and limits, of reading across time and place,  across cultures and languages.</p>
        
 <p>295.001 Survey of Later English Literature<br />
   CRN 25954
   <br />
   MW 5:00 - 6:15<br />
   Genesea Carter
 </p>
   
     <p>This course  is a survey of English literature from 1798 to the present. The readings of  this course will roughly follow the themes of empire, gender, science,  religion, and class issues with the intention of examining the text's  rhetorical purpose and cultural context. Thus, this class will teach students  how to be rhetorically aware when analyzing literature and its relationship to  the cultural values of the period. Particularly important to the rhetorical  context is our understanding of the cultural anxieties and changes embedded  within these themes, so students will become familiar with conducting primary,  periodical research in order to inform their interpretations. Assigned readings  will include Jane Austen's <em>Mansfield Park</em>,  Bram Stoker's <em>Dracula</em>, Elizabeth  Barrett Browning's "A Curse for a Nation," William Dodd's "The  Narrative of William Dodd, a Factory Cripple. Written by Himself," and J.  M. Barrie& ;s & ;Peter Pan; Or, the Boy Who Wouldn& ;t Grow Up.& ; Course assignments  include periodical research essays, close analysis essays, a midterm, and a  final. </p>
   
 <p>295.002 Survey of Later English Literature
   <br />
   TR 12:30 - 1:45<br />
   Aeron Hunt
 </p>
   
     <p>This course will introduce students  to the literature of the Romantic, Victorian, and Modern/Postmodern periods  (from the 1790s onward). We will read examples of poetry, fiction, and drama  that represented and shaped the artistic, social, and cultural concerns of  these eras of dramatic social transformation and intellectual upheaval. Writers  that we study may include: Blake, Wollstonecraft, Wordsworth, Coleridge,  Shelley, Keats, Austen, Tennyson, Elizabeth Barrett Browning, Robert Browning,  Christina Rossetti, Dante Gabriel Rossetti, Hopkins, Stevenson, Wilde, Kipling,  Woolf, Eliot, Yeats, Joyce, Walcott, Pinter, Rushdie.</p><p>Course requirements: two exams, two  papers (5-6 pages each), in-class exercises/small assignments, class  participation</p>
   
    
 <p>297.001 Later American Literature<br />
   CRN 25956
   <br />
   TR 9:30 - 10:45<br />
   Melina Vizcaino-Alem& ;n
   <br />
 </p>
 
   <p>This later American literature course will  cover the development of American literature from the end of the Civil War to  the present.  We’ll study a variety of  writers, genres, and movements representative of the people, histories, and  themes that make up the nation.  We’ll  also study literature as art, analyzing its forms, use of language, and overall  aesthetics, and we’ll put the text within its historical context.  Emphasizing an interdisciplinary approach to  literature, the class incorporates other forms of cultural production,  particularly architecture, film, and photography, to analyze the literary texts  we read.  We’ll become familiar with the  writers of this era, and also learn how to discuss them using literary and  interdisciplinary methods of analysis.   Most importantly, we’ll hone our critical reading and thinking skills  and apply them to written analyses.  </p>
    
 <p><a ="#224">224 | 300 level</a> | <a ="#400">400 level</a> | <a ="#500">500 level</a> | <a ="#600">600 level</a> |<a ="#top"> top</a> </p>
    
 <p>297.002 Later American Literature<br />
   CRN 25966<br />
   MWF 1:00 - 1:50<br />
   Belinda Wallace
 </p>
    
    
    
 <p>297.003 Later American Literature
   <br />
   TR 5:00 - 6:15<br />
   Noreen Rivera
 </p>
 
   <p>Later  American Literature… Twain, Fitzgerald, Hemingway and Steinbeck, right? Though,  we will indeed study literature from the & ;big four,& ; this course provides a  chronological survey of the various forms of literature and literary movements  peoples created within the United States, from the Reconstruction Era (post-U.S.  Civil War) to the Present. </p>
          <p>The  study of our nation& ;s rich literary culture will begin with the exploration of  gender, transnational, national, regional and racial themes at work by a range  of Post Civil War writers, such as Twain, Dunbar, Ruiz de Burton, London, and  Chopin, to name a few. Then, we will transition to late nineteenth century  works by Chinese, Black, Latino and Native American writers that question the  politics of what it means to be & ;American.& ; Our study of the nineteenth century  will offer us the opportunity to examine the aforementioned themes using a  variety of literary genres in the form of poems, novel excerpts, folktales,  short stories, and corridos. Next, we will move into the early twentieth  century and read literary works produced during the pre- and post- World War I  era to study shifts in theme and political issues by popular and recovered  writers of the & ;Lost Generation.& ; At this point in the course, we will pause  our chronological procession to assess how and why our readings as a whole  illustrate the dynamic cultural, political and social concerns of the eras  covered. This course continues its charge into the Modern Era with an  examination of the New Negro Renaissance, Great Depression writers, along with  Cold War and Civil Rights literatures and movements that challenge nostalgic  national memory of a 1950's and early 1960s ideal. This course concludes with a  study of literary expressions that celebrate and criticize matters of culture,  gender and national politics from Vietnam literature to the present. Drama,  autobiography, speeches and song lyrics round out the list of new genres we  will add to our study of later American literature. Again, we will close by  questioning how and why literature in the 20th and 21st  centuries represents the desires and dreams of a complex and diverse American  people.  </p>
          <p>As  you can see, this course is a survey in every sense of the word. We will move  swiftly, but you will gain a broad comprehension of the various literary  movements, and cultural and national ideologies expressed by the diverse  peoples who have contributed to our nation& ;s literary tapestry.           </p>
 
 
    
     <p><a name="300" id="300"></a>304.001 The Bible as Literature<br />
       CRN 15926
       <br />
       TR 12:30 - 1:45<br />
       Janet Gaines
     </p>
        
          <p>The Bible  contains some of the most powerful stories of all time. This course will  explore the literary/critical possibilities for reading biblical sagas of love  and war, faith and doubt, salvation and degradation. We will examine literary  elements of biblical tales, determine how these narratives have shaped our  culture, and study what they reveal about our world. Units of study include  heroic narratives (including non-traditional heroes such as Jezebel and  Lilith), history of the Davidic monarchy (from Saul through Jesus), wisdom  literature and poetry (such as Job and Psalms), prophetic literature (several  Minor Prophets), the letter as literature (the writings of Paul and his  contemporaries), and apocalyptic literature (strains of Joel, Ezekiel, and  Daniel that reappear in Revelations).<br />
            <br />
            Midterm,  final, and one analytical or creative ten-page paper.</p>
        
        
    
     <p>305.001 Mythology<br />
       CRN 15930<br />
       TR 9:30 - 10:45<br />
       John McKinnell
     </p>
        
          <p>Viking myth and  legend provide a unique opportunity to study some of the basic foundations of  literature: the origins of symbol, the ways in which 'significant' stories evolve,  and how the religious and moral understanding of them has changed over the  centuries. The most important and extensive pre-Christian mythology that  survives from Northern Europe is that of Scandinavia and the other lands  colonised by Norse-speaking people during the Viking Age. It is preserved  chiefly in the anonymous anthology of poems known as the <em>Poetic Edda</em> and  in the <em>Prose Edda</em>, a guide for poets composed in the early thirteenth  century by the poet, scholar and historian Snorri Sturluson; translations of  these two works will form the core reading for the course.<br />
            We shall begin  by approaching the questions 'who were the Norsemen?' and 'why do their  pre-Christian myths survive when those of most other Christian peoples do not?'  We shall then study the individual myths, starting from translations of the  texts themselves, most of which are short, action-packed narrative poems.  Topics covered will then include: Fertility gods, male and female, and their  human devotees; Thor, enemy of giants and friend of the common man; Odin,  patron of secret wisdom and poetry (and also the great seducer); The downfall  of the gods; Mockery of the gods, and Loki the trickster; Faded gods,  mysterious spirits and the process of change. Our governing question will be:  What were the myths for, and why did Christians continue to use them?</p>
          <p>You will need  two course books: <em>The Poetic Edda</em>, trans. Carolyne Larrington, World  Classics, Oxford / New York: OUP, 1996. <em>Snorri Sturluson, Edda</em>, trans.  Anthony Faulkes, Everyman's Library, London: Dent, 1987. Each week's reading  will consist of selections from these, together with some other translated  material which you will be able to download from e-reserve. Other sources and  background critical reading which can be consulted in the library will appear  in a bibliography which will also be posted on e-reserve.</p>
          <p>The  assessment of the course will consist of four quizzes (each counting for 5% of  your overall mark), one essay, to be submitted in week 9 (or 10) of the course  (not more than 3,000 words, counting for 40% of your mark), and a final  two-hour examination, counting for 40% for your mark. Essay and exam questions  will allow you a wide choice of topics, both myth-historical and literary.</p>
        
    
    
      <p>305.002 Mythology<br />
        MWF 10:00 - 10:50<br />
        Sandria Faubion
      </p>
    
        
     <p>306.001 Arthurian Legend and Romance
       <br />
       TR 3:30 - 4:45<br />
       Anita Obermeier
     </p>
        
          <p>The  Arthurian Legend has been the single most prolific literary motif in Western  literature. This course will investigate this enduring strength and attraction  of Arthurian legends from their pan-European beginnings in the medieval period  to contemporary literature, popular culture, and film. We will read  masterpieces from the Celtic tradition, Chrétien de Troyes, the French  Lancelot-Grail Cycle, Wolfram von Eschenbach, Thomas Malory, Alfred Lord  Tennyson, Mark Twain, Naomi Mitchison, and others. This way, we can observe how  each version serves a new authorial, political, or cultural agenda—whether it  is to establish a national foundation myth, to endorse specific religious  values, to revive medieval values in an industrial age, or to challenge gender  stereotypes in modern times. We will also focus on the evolution of other  important Arthurian characters, such as Gawain, Tristan, Perceval, Morgan le  Fay, Galahad, Merlin, Lancelot, and Guinevere.</p>
        
    
    
     <p>308.001 The Jewish Experience in American Literature and Culture<br />
       CRN 40620
       <br />
       TR 2:00 - 3:15<br />
       Janet Gaines
     </p>
    
    
 <p>315.002 American Masculinities    <br />
   MWF 10:00 - 10:50<br />
   Daniel Worden
   <br />
 </p>
 
   <p>From Theodore Roosevelt's  endorsement of the "strenuous life"to <em>Fight Club</em>,  American masculinity is often thought to be in crisis.  Particularly in the twentieth century,  masculinity seems to be a reactionary gender category, saturated with nostalgia  for a time when & ;a man could be a man.& ; Is masculinity always yoked to  nationalism, racism, and sexism?  Or,  does masculinity have a more complex role in American culture?  This course will explore masculinity in a  variety of literary works and films from the twentieth- and  twenty-first-century U.S. We will analyze these works alongside critical texts  from gender studies, queer theory, history, and sociology. </p>
          <p>Course texts will include literary  works by Junot Diaz, Leslie Feinberg, Ernest Hemingway, Patricia Highsmith,  Norman Mailer, and Richard Wright, along with early <em>Superman</em> comic  strips; critical and theoretical texts by Judith Butler, R.W. Connell, Ken Corbett Frantz Fanon, Sigmund Freud,  Judith Halberstam, Michael Kimmel, Eve Kosofsky Sedgwick, and Kathryn Bond  Stockton; and films such as <em>Rebel Without a Cause</em>, <em>The Searchers</em>, <em>Midnight Cowboy</em>, <em>Boys Don't Cry</em>, <em>When Were Were Kings</em>, <em>Fight  Club</em>, and <em>Where the Wild Things Are</em>.</p>
        
 
    
    <p>321.001 Intermediate Creative Writing: Fiction<br />
      MWF 12:00 - 12:50<br />
      Samantha Tetangco
    </p>
    
    <p>321.002 Intermediate Creative Writing: Fiction<br />
      CRN 15991<br />
      TR 11:00 - 12:15<br />
      Jack Trujillo
      <br />
    </p>
    
    
     <p>321.003 Intermediate Creative Writing: Fiction<br />
       CRN 15992<br />
       TR 5:30 - 6:45<br />
       Jack Trujillo
     </p>
    
    
    <p>322.001 Intermediate Creative Writing: Poetry<br />
      CRN 16005<br />
      MWF 10:00 - 10:50<br />
      Michelle Brooks
    </p>
    
     <p>323.001 Intermediate Creative Writing: Nonfiction<br />
       MWF 11:00 - 11:50<br />
       Marisa Clark      </p>
    
        
        <p>323.002 Intermediate Creative Writing: Nonfiction<br />
          MWF 3:00 - 3:50<br />
          Marisa Clark
        </p>
        
 
     <p>350.001 Medieval Tales of Wonder
       <br />
       MWF 11:00 - 11:50<br />
       Juliette Cunico
     </p>
     
       <p>The tales of  magic and wonder such as those collected by the brothers Grimm in the late 18th  and early 19th centuries are classified as & ;fairy tales,& ; although very few of  them actually contain a creature called a fairy.& ; Instead, as J.R.R  Tolkien has pointed out, these tales are of the land of & ;Faerie& ;; & ;the perilous  Realm itself, and the air that blows in that country. ...Faerie cannot be  caught in a net of words; for it is one of its qualities to be indescribable,  though not imperceptible.& ;& ; These stories of magic, enchantment, heroic  quests and courtly romance form a cultural heritage thousands of years old,  dating back to the oldest written epics and further still to tales spoken  around the hearth-fire.& ; We will discover that these tales of wonder  differ from novels of social realism in their freedom to portray the world in  bright primary colors; a dream-world half remembered from childhood when all  the world was glistening and strange; a fiction unembarrassed to tackle the  truths of Good and Evil, Honor and Betrayal, and Love and Hate.</p>
       <p>It is these  tales and epics that we will be studying; stories about the Celtic  & ;otherworld& ;, monsters (both human and other) in Scandinavian poetry,  mysterious animals and lovers in Russian folk epics, talking beasts with  strange attributes in medieval bestiaries, and encounters with the dead in the  Italian version of Hell.& ; Along the way we will also encounter gods and goddesses,  knights and wizards, philosophers, heroes, villains, artists and  buffoons.& ;<br />
         In this class we  will go beyond a simple reading of the texts to an analytical study of the  individual& ;s reaction to experiences with the & ;otherworld,& ; and progress  towards an understanding of why these stories resonate through the ages and  maintain an importance even today in our pragmatic world of science and  rationalism.& ; This will be achieved through an immersion in the texts,  frequent writing in and out of class, extra-curricular research, and lively and  informed class discussions.</p>
       <p>Texts  will include works from the Irish <em>Ulster Cycle</em>, the Welsh <em>Mabinogian</em>,  the Scandinavian <em>Poetic</em> <em>Edda</em>, The German <em>Nibelung Cycle</em>,  The Finnish Epic <em>Kalev</em>a, Boccaccio& ;s <em>Decameron </em>and Dante& ;s <em>Inferno</em>,  Russian <em>Byliny</em>, Medieval Bestiaries, and Old English <em>Wonders of the  East</em>.& ;</p>
     
     
   
     <p>351.001 Chaucer        <br />
       MWF 10:00 - 10:50<br />
       Christine Kozikowski
     </p>
        
          <p>In  this course, we will explore Chaucer& ;s most famous work, the <em>Canterbury  Tales</em>. Chaucer& ;s collection of pilgrimage tales is one of the greatest,  most imaginative, and varied pieces of all English literature. Consider its  fascinating historical backdrop in late fourteenth century England: a  generation prior, the plague had swept through Europe decimating the  population; political unrest and religious turmoil; a child king had taken the  throne; peasants rose up in rebellion; the Bible was translated into English;  and heretics were burned at the stake—a world of both decay and renewal, of  catastrophic violence and decline for some, but dazzling possibility for  others. Through the voices of colorful storytellers, Chaucer& ;s last great poem  tests the boundaries of social possibility in a & ;disenchanted& ; age, weighing  the competing claims of allegory and realism, chivalry and commerce, men and  women, traditional authority and individual experience. And it does so in our  ancestor language of Middle English, simultaneously a colorful, earthy, and  lofty idiom. We will, in essence, ride along with the pilgrims on our own  journey to Canterbury and through the Middle Ages.</p>
        
         
     
 <p>352.001 Early Shakespeare<br />
   MW 2:00 - 3:15<br />
   David Jones
 </p>
        
          <p>An introduction to Shakespeare's first decade of creation, beginning with a fairly simple comedy, The Taming of the Shrew, and ending with his first great tragedy, Hamlet.  Other plays include the history Richard III, the comedies  A Midsummer Night's Dream, Much Ado about Nothing, and As You Like It, and the tragedies of Titus Andronicus, Romeo and Juliet, and Julius Caesar.</p>
          <p>My approach is a blend of literary criticism, intellectual context, and theatre history with particular stress on the performance qualities of the plays.  I make extensive use of short clips from videos of the plays as an aid to understanding.</p>
          <p>Class format is lecture and discussion.  Requirements include midterm and final exams, one paper, and six quizzes.</p>
        
     
    
     <p>352.002 Early Shakespeare        <br />
       TR 11:00 - 12:15<br />
       Carmen Nocentelli
     </p>
        
          <p>During the course of the semester,  we will read and discuss several plays penned during the first part of  Shakespeare's career, including <em>The Taming of the Shrew</em>, <em>Titus  Andronicus</em>, <em>Romeo and Juliet</em>, <em>A Midsummer Night's Dream</em>, <em>The  Merchant of Venice</em>, and <em>Henry V</em>. The primary goal of this course  will be to assist you in becoming active and perceptive readers of early modern  drama. This means not only to be able to find out for yourself what a  particular play amounts to, but also to perform independent research,  synthesize scholarly articles, and show by careful and consistent argument how  you have arrived at your reading. This also means that there will be relatively  little lecturing on my part, and that you will be required to attend regularly,  read all assigned material carefully (using the supplied reading guides as  appropriate), and contribute thoughtfully to class discussion. A variety of  written assignments will complement our in-class activities.</p>
    
    
 <p>353.001 Later Shakespeare<br />
   MW 4:00 - 5:15<br />
   David Jones
 </p>
        
          <p>An introduction to the last decade of Shakespeare's work, the period in which he finished a line of great comedies with Twelfth Night and morphed the form into the problematic Measure for Measure; when his tragedies climaxed with Othello, Macbeth, and King Lear;  and he began an entire new form of writing with the romances The Winter's Tale and The Tempest.</p>
          <p>My approach is a blend of literary criticism, intellectual context, and theatre history with particular stress on the performance qualities of the plays.  I make extensive use of short clips from videos of the plays as an aid to understanding.</p>
          <p>Class format is lecture and discussion.  Requirements include midterm and final exams, one paper, and six quizzes.</p>
        
    
        
 <p>355.001 Enlightenment Survey    <br />
   TR 9:30 - 10:45<br />
   Carolyn Woodward
 </p>
 
   <p>Wondrous things upon the earth?    With microscope and telescope, in drops of  water, across oceans, and in the expanse of the heavens, people marveled at a  plurality of revealed worlds.  Shocking  ideas were formulated and published during this time, sometimes at people’s  peril as they challenged not only received opinion but sometimes church and  government authorities in philosophical treatises, clandestine literature,  visual narrative, travel writing, newspapers, dictionaries and encyclopedias,  and the novel.  Major figures include  John Locke, Mary Wortley Montagu, Voltaire, Jean-Jacques Rousseau, and Frances  Burney.  We’ll read selections from  writers of African origins living in London, North America, and the Caribbean,  as well.  The semester will close with  Jane Austen’s extended thought experiment on reason and passion in her novel <em>Sense &amp; Sensibility.</em>  <p>Four 4-6 page papers, one midterm &amp; one  final examination.</p>
     <p>Texts:<br />
     Longmans Anthology of British Literature (<em>Restoration &amp; Eighteenth Century) </em>4th  ed, packaged with Austen’s <em>Sense &amp;  Sensibility</em><br />
     Margaret C. Jacob, <em>The Enlightenment: A Brief History with  Documents</em><br />
     Voltaire, <em>Candide</em><br />
     Vincent Caretta, ed.  <em>Unchained Voices: An Anthology of Black  Authors in the English-Speaking World of the 18th Century.</em><br />
     Frances Burney, <em>Cecilia</em><strong></strong></p>
 
        
        
          <p>356.001 The Nineteenth Century<br />
            MW 5:00 - 6:15<br />
            Ashley Carlson
          </p>
        
        
          <p>360.001 Bloomsbury            <br />
            MWF 3:00 - 3:50<br />
            Mary Power
          </p>
        
          <p>This course will be devoted mainly to  three of Bloomsbury& ;s most celebrated writers-----Virginia Woolf, E.M.Forster  and Lytton Strachey. We& ;ll Read Woolf& ;s novels Jacob& ;s Room, Mrs. Dalloway and  to the Lighhouse. Then we& ;ll study E.M.Forster& ;s Where Angels Fear to Tread,  Passage to India, Howard& ;s End and Maurice. We& ;ll go on to consider Lytton  Strachey& ;s radically new & ;psychological biographies& ; including Eminent  Victorians, Queen Victoria, and Elizabeth and Essex. We& ;ll also look at some  paintings by Virginia Woolf& ;s sister Vanessa Bell and Duncan Grant and explore  their connection to the literature of Bloomsbury.</p>
        
    
 <p>360.002 Faulkner<br />
   MWF 1:00 - 1:50<br />
   Antonio Marquez
 </p>
    
        
     <p>360.003 D.H. Lawrence<br />
       <b>Click for course description</b><br />
          MWF 11:00 - 11:50<br />
       Feroza Jussawalla
     </p>
        <p>This is a major author course that will read the works of 
D.H. Lawrence, consider the controversies around his 
writing, the banning of his books and whether he can be 
considered colonialist or not. we will also read materials 
pertinent to Lawrence in New Mexico and if possible take a 
trip to Taos. We will start with some short stories and 
read Sons and Lovers, Lady Chatterly's Lovers and The 
Plumed Serpent.</p>
        
    
     <p><a name="400" id="400"></a>410.001 Criticism and Theory
       <br />
       R 4:00 - 6:30<br />
     Jesse Alem& ;n</p>
     
       <p>This course charts the rise of major schools  and movements in literary theory and criticism from Marxism to post-colonial  studies. We& ;ll study psychoanalysis, structuralism, and post-structuralism;  feminism, gender studies, and queer theory; new historicism, cultural studies,  and post-colonial theory. The class will consider the intellectual foundation  of each theoretical paradigm and explore what& ;s at stake with the questions  specific theories pose, but our overall goal will be to work toward  understanding how ideas, terms, and concepts overlap, undermine, or repeat with  a difference theories of meaning, being, identity, and representation. By the  end of the course, we& ;ll have a broad repertoire of critical tools to put at  our analytical disposal. Most of the reading will comprise of the primary  theoretical texts—dense work that requires the time to read more than once,  with dictionary in hand. We& ;ll also read several short stories as & ;case  studies& ; for different theoretical possibilities. </p>
          <p>Required text: Julie Rivkin and Michael Ryan,  eds. <u>Literary Theory: An Anthology</u> (2nd edition)</p>
        
            
 <p>417.001 Editing<br />
   CRN 16163
   <br />
   MWF 11:00 - 11:50<br />
   Jim Burbank
 </p>
 
   <p>The course in editing provides  students with practical experience in copyediting print and on-line documents.  The class develops a theoretical, rhetorical, linguistic, and historical  analysis of style, grammar, and usage. Document design, developmental, and  project editing expand the student’s understanding of editorial concepts and  applications. </p>
 
    
 <p>418.001 Proposal and Grant Writing<br />
   CRN 36212
   <br />
   MWF 1:00 - 1:50<br />
   Kyle Fiore
 </p>
 
   <p>In this& ; course you  will learn how to write effective& ; grant proposals and understand how to  locate and evaluate requests for proposals to ensure the proposals you write  are able to persuade a client or funder to fund your project. You will also  analyze existing proposals to understand the persuasive moves they make. <br />
     Because proposal writing  is not a solitary task, but rather a process of working with others to identify  needs, locate opportunities, and develop a persuasive solution, it is helpful  to understand how the process works in the real world. To accomplish this need  for real world experience, the major project for the course will be to write a  real proposal by working with a local organization in a service learning  experience. As you write the proposal, you will draw off the principles of  rhetorical analysis, learning how to </p>
          <ul type="disc">
            Develop a clear description of       the problem, 
            Offer achievable objectives, 
            Design a logical solution, 
            Create specific and accurate       budgets, and 
            Present your organization       powerfully.
          </ul>
          <p>You will also learn  methods of writing persuasively that are both ethical and effective as well as  study how to use document design to enhance readability. </p>
 
 
    
 <p>418.002 Proposal and Grant Writing
   <br />
   TR 11:00- 12:15<br />
   Valerie Thomas
 </p>
 
   <p>In this course you will learn how to write effective  business and grant proposals and understand how to locate and evaluate requests  for proposals to ensure the proposals you write are able to persuade a client  or funder to fund your project. You will also analyze existing proposals to  understand the persuasive moves they make. <br />
     Because proposal writing is not a solitary task, but rather  a process of working with others to identify needs, locate opportunities, and  develop a persuasive solution, it is helpful to understand how the process  works in the real world. To accomplish this need for real world experience, the  major project for the course will be to write a real proposal by working with a  local organization in a service learning experience. As you write the proposal,  you will draw off the principles of rhetorical analysis, learning how to</p>
          <ul type="disc">
            Develop       a clear description of the problem, 
            Offer       achievable objectives, 
            Design       a logical solution, 
            Create       specific and accurate budgets, and 
            Present       your organization powerfully. 
          </ul>
          <p>You will also learn methods of writing persuasively that  are both ethical and effective as well as study how to use document design to  enhance readability.</p>
 
 
    
     <p>419.020 Visual Rhetoric<br />
       CRN 41210
       <br />
       Online<br />
       Valerie Thomas
     </p>
        
          <p>This course will prepare you to work with visual elements  of textual communication – page design, graphic design, webpage design, poster  design, etc. Design in its broadest sense is an academic and professional  discipline that requires years of study. For this course, you will consider  yourself a writer who, because of the demands of computer technology, must  understand principles of proper design and how to communicate visually in the  documents you create. Thus your goal is to create effective layout and design  work and to be able to talk sensibly to professional designers and printers. To  reach this goal, you will need to develop and demonstrate facility with  computer programs. After completing this course, you should be able to </p>
          <ul type="disc">
            Understand       how to analyze the rhetorical situation (purpose, audience, and context)       that influences the documents you create. 
            Analyze       documents in terms of their ability to use visual design principles to       communicate effectively with their intended readers. 
            Understand       the principles of design and be able to implement these principles in the       documents you create. 
            Use       software (Microsoft Word, Excel, and PowerPoint, and Adobe InDesign) to       create documents that implement effective document design. 
            Understand       publishing considerations so you are able to work efficiently with       printers to create professional documents. 
          </ul>
        
    
    
 <p>420.001 Blue Mesa Review<br />
   CRN 39828<br />
 Justin St Germaine</p>
    
    
    
 <p>420.002 Stylistics Analysis<br />
   CRN 26003
   <br />
   TR 9:30 - 10:45<br />
   Jerry Shea
 </p>
 
   <p>Stylistic Analysis (aka & ;Prose Style& ;) is  unlike any writing course you have ever taken.   We get down and dirty at the sentence level; my aim, as in all my  courses, is to rub your nose in the prose.   What makes for good prose?  What  makes for wretched prose?  We shall try  to find out.  Do you know the difference  between noun style and verb style?   Between hypotaxis and parataxis?   Have you ever thought about the different assumptions we bring to poetry  and to prose?  Has it ever occurred to  you that sometimes we look AT prose and sometimes we look THROUGH prose?  Take this course and revel in these  questions.  Six or seven short  assignments.  No midterm or final.</p>
 
 
    
     <p>420.004 Writing in the Natural Science
       <br />
W 4:00 - 6:30<br />
Lynn Beene <br />
     </p>
         
          <p>Writing for the Natural Sciences/Biology is a research 
            based, project-focused course designed to address the 
            needs of students doing research in the natural sciences. 
            It is not a course in nature writing. The advanced 
            workshop/course begins by covering many of the basic forms 
            of professional writing students will encounter in their 
            careers (e.g., abstracts, literature surveys, research 
            reports, and grant proposals).  In this workshop, students 
            will first analyze central values, conventions, and 
            discourse practices of the discipline. Then they will 
            practice those conventions, with a particular emphasis on 
            written and oral discourse that accomplishes rhetorical 
            aims and on mastering disciplinary standards for format, 
            genre, and citation. Each student then develops an 
            individual project involving research in an area of 
            specialty, culminating in a project proposal or journal 
            article (possibly for publication in a journal for 
            undergraduate science).  I assume that the students in the 
            course are or will soon be engaged in actual laboratory 
            research in their field, and the course is designed to 
            support that work.  Students currently engaged in research 
            are urged to consider writing a journal article; students 
            not yet engaged in research should write a grant proposal. </p>
            <p>Course Texts: Ann Penrose and 
            Steven Katz, <em>Writing in the Sciences</em>; Victoria McMillan, 
            <em>Writing Papers in the Biological Sciences</em>; grammar review <br />
            (to be assigned).<br />
          </p>
        
    
    
     
       <p>420.011 Marketing Business &amp; Nonprofits<br />
         ARR<br />
         Kenneth Davis </p>
 
   <p>A course in "copywriting": writing to market products, services, even ideas.      Working in simulated ad agencies, students will write copy for print ads,      direct mail pieces, brochures, catalogs, press releases, and other marketing      vehicles. They will revise their best copy for inclusion in a final      professional portfolio. Texts for the course are Blake and Bly's <em>The      Elements of Copywriting</em> and Heath and Heath's <em>Made to Stick</em> (2008      edition). These will be supplemented by videos of the instructor discussing      examples of marketing copy he has written for business, government, and the      nonprofit sector.<br />
     </p>
            
     
     <p>421.001 Advanced Creative Writing: Fiction<br />
       TR 12:30 - 1:45<br />
       Sharon Warner
     </p>
        
        <p>& ;The  main rule of the writer is never to pity the manuscript.& ; <br />
 --Isaac Bashevis Singer</p>
        <p>& ;I& ;m  happy when the revisions are big.  I& ;m  not speaking of stylistic revisions but of revisions in my own  understanding.& ;  --Saul Bellow</p>
        <p>This  course is an advanced-level workshop, and the focus will be on large and  small-scale revision.  The philosophy  that informs this course is that stories and novels are not so much written as  rewritten.  Students who enroll must have  completed English 224 and 321 or have the consent of the instructor.</p>
        <p>In  taking 224 and 321, you& ;ve no doubt accumulated several stories that proceed  haltingly and then sputter to half-hearted conclusions.  Or perhaps they get off to a roaring start  and then lose direction and crash into trees or trucks or defenseless old  ladies.  Your stories may be flashy but  insubstantial, or so deep and ponderous that the reader wades in only a page or  two before turning back.  We& ;ll take what  you have on the page and give it several go-rounds.  As a group and as individuals, we& ;ll  reconsider, rework, re-envision these drafts and find our way to satisfying  conclusions.</p>
        <p><strong>Requirements: </strong>Successive revisions of two different stories, an essay on a  contemporary short story paired with a presentation to the class, and regular  responses to readings.  </p>
        <p><strong>Texts:  </strong><em>Blue Collar, White Collar, No  Color: Stories of Work </em>by Richard Ford; <em>The Art of Subtext: Beyond Plot </em>by Charles Baxter;<br />
          <em>Alone With All That Could  Happen: Rethinking Conventional Wisdom about the Craft of Fiction</em> by  David Jauss<strong>Fee:  </strong>$20.00 for  photocopying </p>
</p>
        
 
     <p>421.011 Advanced Creative Writing: Fiction<br />
       ARR<br />
       Diane Thiel
     </p>
 
       
     <p>422.001 Advanced Creative Writing: Poetry<br />
     CRN 41560<br />
     TR 3:30 - 4:45<br />
     Lisa Chavez
     </p>
        
          <p>This advanced  creative writing workshop in poetry presupposes a certain understanding of the  genre:  the use of image, line, and  form.& ; Our goals in this course will be to hone craft, try new styles and  forms of poetry, and practice revision skills.& ;  You will be expected to try out a number of  different styles and forms of poetry in exercises, as well submit poems to our  class workshop.  </p>
          <p>Expect to do a  lot of reading of contemporary poetry, a lot of writing and critiquing other’s  work.  You will be expected to turn in a  final portfolio of polished poems at the end of the semester.</p>
        
       
     <p>423.001 Advanced Creative Writing: Nonfiction<br />
       CRN 16288<br />
       TR 3:30 - 4:45<br />
       Justin St Germaine
     </p>
        
          <p>This is a creative writing workshop  course in the genre of creative nonfiction, which includes memoir, the personal  essay, reportage, the lyric essay, and hybrid forms. In addition to  prerequisite courses, students should have an existing knowledge of the basics  of narrative craft – scene, voice, point of view, and so on. Students will read  and respond to published writing by prominent authors who push the boundaries  of the genre, read and critique the writing of their peers, and have their own  creative work read and discussed by the class. Course goals are to refine our  understanding of craft, to practice providing constructive criticism and the  process of revision, and to explore the possibilities of creative nonfiction.</p>
     
        <p><a ="#224">224 | 300 level</a> | <a ="#400">400 level</a> | <a ="#500">500 level</a> | <a ="#600">600 level</a> |<a ="#top"> top</a></p>
    
      <p>440.001 Language and Diversity<br />
        TR 2:00 - 3:14<br />
        Michelle Hall Kells
      </p>
      
        <p>ENGL 440/540 will provide intensive  study in language and literacy for teachers of   college writing (as well as K-12).    This course will bring three intellectual operating spaces into  conversation: Sociolinguistics, Composition Studies, and Second-Language  Literacy Education. The aim of this course is to guide the examination of  current theoretical and applied approaches to teaching  ethnolinguistically-diverse populations.   Selected readings will center on the nature of human language, the  processes of discourse acquisition, and the multiple dimensions of communicative  competence.  </p>
        <p>Special focus will be given to the  teaching of Composition informed by sociolinguistic theory and research.  We will attend to issues of: ethnolinguistic  identity, social stratification, linguistic racialization, language attitudes,  institutionalized discrimination and non-standard language varieties as well as  the ethical and social implications of hate-speech. </p>
        <p>This syllabus extends beyond the  study of language structure and use (grammar and function) and moves toward  applications of effective literacy practices as intellectual/critical acts of  social participation.  The core objective  of this syllabus is to cultivate theoretical and pedagogical approaches to  literacy education (informed by linguistics) that enhance student access and  success.</p>
      
    
    
 <p>448.001 Beowulf<br />
   T 4:00 - 6:30<br />
   Helen Damico
 </p>
 
   <p>This is the  introductory course to Beowulf, and as such it is primarily a linguistic and  literary study of the first vernacular English poetic epic. It is meant to lay  the groundwork for an intermediate and advanced seminar. The student will  continue studying Old English grammar and syntax. Over half of the poem will be  translated from the original in class, although students are required to know  the entire poem. Yet, this is not a course that focuses only on translation.  After mid-semester, students will engage in short, introductory paleographical  and metrical exercises on selected portions of the poem. This will allow  students to become closely acquainted with the manuscript, Cotton Vitellius  A.xv and to begin to arrive at an understanding about the making of a secular  epic in the vernacular. Topics discussed in the course will include: Old  English poetic language and form; formula and formulaic systems; Old English  versification; the history of the manuscript; the dating of the poem; problems  of translations; structure and unity; methods of narration; relationship of  fantasy and "reality". </p>
          <p>Course  requirements: Midterm, short exercises in metrics, final, and individual and  class final projects. PRE-REQUISITE: 447/547 Old English, or the equivalent.  This course challenges the student, and applies toward the IMS Minor in  Medieval Studies and the MA and Ph.D. Concentrations in Medieval Studies in  English. Required Texts: Klaeber's Beowulf and the Fight at Finnsburg. 4th ed.,  edited by R.D.Fulk, Robert E. Bjork, and John D. Niles, University of Toronto  Press; Orchard, Andy. A Critical Companion to Beowulf. Cambridge, 2001. pb; A  Beowulf Handbook. Edited by Robert E. Bjork and John D. Niles. Lincoln, NE.:  University of Nebraska Press, 1997, pb; Orchard, Andy, Pride and Prodigies: The  Monsters in the Beowulf Manuscript. </p>
        
 
    
 <p>459.001 Irish Literature<br />
   MWF 2:00 - 2:50<br />
   Mary Power
 </p>
 
   <p>The contemporary novels of Ireland  forge new ground in style and subject matter, bring the old world into the new  and make few efforts to conceal or embellish. We’ll read John Banville’s <em>The  Sea</em>, Roddy Doyle’s<em> Paula Spencer</em>, Colm Toibin’s <em>Brooklyn</em>, William Trevor’s<em> Love  and Summer</em>, Edna O’Brien’s <em>In the Forest,</em> Colum McCann’s <em>Let the Great World  Spin</em>, Anne Enright’s <em>The Gathering </em>and Emma Donaghue’s <em>Room</em></p>
 
 <p>463.001 Modern American Literature<br />
   MWF 12:00 - 12:50<br />
   Daniel Worden
 </p>
 
   <p>American modernist writers struggled  to reimagine the literary forms that they inherited from the nineteenth  century.  For example, Ernest Hemingway  streamlines the popular boy's adventure story into a set of minimalist short  stories in <em>In Our Time</em>, while Edith Wharton revises the conventional  seduction narrative in <em>Summer</em>. In this course, we will explore the  multiple and often divergent ways that American modernist writers shape  literary form, as they rework narratives from the past and develop new formal  strategies for representing the past, present, and future. Over the course the  semester, we will read from a variety of experimental and popular narratives  from the first decade of the twentieth-century to the years immediately  following World War II, as well as critical and theoretical works on modernist  aesthetics. </p>
 
 
 <p>464.001 Advanced Studies in Native American Literature<br />
   TR 2:00 - 3:15<br />
   Kathleen Washburn
 </p>
 
   <p>Debates about reservation lands,  treaty rights, Indian boarding schools, the Ghost Dance, and BIA reform are  just some aspects of the so-called & ;Indian problem& ; of the late nineteenth and  early twentieth centuries. For the first half of this course, we will focus on  texts from the turn of the century, a period in which a new generation of  indigenous writers found new markets for their work. We will investigate the range  of literary strategies that writers employ in order to represent modern Native  communities and contest the American mythology of a noble but vanishing race.  In the second half of the course, we will turn to more recent texts that invoke  and reimagine this earlier period for contemporary audiences. In doing so, we  will address the ways in which debates from the so-called & ;assimilation era& ;  continue to shape Native American literature and film today as well as critical  debates about cultural translation, literary history, and interdisciplinary  methodologies. Texts will include Charles Eastman& ;s <em>From the Deep Woods to Civilization</em>, Francis La Flesche& ;s <em>The Middle Five</em>, Luther Standing Bear& ;s <em>My People The Sioux</em>, Louise Erdrich& ;s <em>Tracks</em>, and Thomas King& ;s <em>Green Grass, Running Water</em>. Course  requirements include short response papers, a research project, and an exam. </p>
 
 
 <p>468.001 The 19th Century American Novel<br />
   TR 11:00 - 12:15<br />
   Jesse Alem& ;n
 </p>
 
   <p>This course is an advanced introduction to the  nineteenth-century American novel understood in historical context. We’ll  examine novels as literary works and as cultural artifacts shaped by wider  social, political, and economic pressures. We’ll focus on the role of the novel  at the beginning of the nineteenth century, on the movement from antebellum  romanticism to post-war realist and naturalist modes, and on the cultural  significance of the novel as a genre. We’ll study the way key American novels  respond to or reproduce contemporaneous conflicts occurring around market  culture; family, sexuality, and gender; and race and nationhood. In the end,  we’ll come to understand the complex relationship between the rise of the  American novel and the rise of the nation in the nineteenth century. Selection  of texts will be based on narratives that were formative for defining and  re-defining the novel as a genre in the nineteenth century. </p>
          <p>Titles most like to include: <em>Charlotte Temple</em>; <em>Edgar Huntly</em>; <em>The Last of the  Mohicans</em>; <em>Hope Leslie</em>; <em>The Scarlet Letter</em>; <em>Ruth Hall</em>; <em>Moby-Dick</em>; <em>Dead Wood Dick</em>; <em>Huckleberry</em> <em>Finn</em>; <em>Ramona</em>; <em>McTeague</em>; and <em>Iola Leroy</em>. </p>
 
 <p>
    474.001 Contemporary Southwestern Literature<br />
    TR 11:00 - 12:15<br />
    Melina Vizcaino-Alem& ;n
 </p>
    
      <p>This course takes an interdisciplinary  approach to southwestern literature by focusing on how literary representations  of the region dialogue with other forms of visual culture.  We will survey texts ranging from the late  nineteenth century, early twentieth century, and contemporary periods by Anglo,  Native American, and Mexican American writers.   In addition to grasping important historical and cultural concepts  pertinent to the Southwest and its formation, students will learn how to  discuss and analyze literature as a cultural text and as an art form.  We will also consider how southwestern  literature converses with visual media like film, art, and architecture.  To this end, the class will consider how  southwestern literature represents the landscape, westward expansion, sacred  ritual, modernization, and race and gender, among other themes, alongside of  visual depictions of the region.  The  class will read novels, short fiction, folklore, and poetry, and it will view  films in their entirety and in sequences, as well as learn about key artists  and architectural structures that inform the body of assigned literature.  Lectures will provide important concepts and  context for texts, and classroom discussions will focus on a particular theme,  craft, and/or historical era relevant to the assigned literature.  Other assignments include two in-class exams,  several written reviews, and a critical essay. </p>
    
        
    
 <p>479.001 Postcolonial Literatures<br />
   <b>Click for course description</b><br />
          MWF 9:00 - 9:50<br />
   Feroza Jussawalla
 </p>
        <p>This is an introduction to literature written in English 
from the postcolonial world , i.e. from India, Africa and 
the Caribbean. We will read such works as Chinua Achebe's 
Things Fall Apart, Rushdie's Satanic Verses and a hybrid 
novel like Zadie Smith's White Teeth. We will consider 
questions such as hybridity, identity, globalization-- 
concepts necessary to ur living in this changing 
contemporary world. all the readings are fun and sometimes 
have movies that accompany them. There will be reaction 
response papers and one longer research paper</p>
    
 <p>499.001 Internship<br />
   CRN 16488<br />
   MWF 2:00 - 2:50<br />
   Jim Burbank
 </p>
 
   <p>The Internship Seminar is the  capstone course in the Professional Writing sequence. The course prepares  Professional Writing students for the career search process they will engage in  after they graduate. Students should take the course the first semester of  their senior year and should obtain an internship before taking the course, as  the class focuses on the internship experience as a professional preparation  for the career search. (Please visit the Professional Writing Internship page  on the English Department web site and the Professional Writing Facebook page  for further information.) Students interested in taking this course should  contact James Burbank, Professional Writing Internship Director at  jimbu@unm.edu.</p>
 
 
    
     <p><a name="500" id="500"></a>517.022 Editing<br />
       CRN 41432<br />
       Stephen Benz
     </p>
        
          <p>This course focuses on editing as a professional skill. Along with  practicing advanced copyediting skills, you will learn about "information  design": the creation of documents that are complete, accurate, correct,  comprehensible, usable, and appropriate for readers. Because editors must often  be responsible for a document from its inception to its presentation as a  finished product, you will also learn about layout and document design, as well  as contemporary production processes. Successful completion of this course will  provide you with the foundation necessary for a future career in the field. </p>
        
    
    
     <p>518.001 Proposal and Grant Writing<br />
       MWF 1:00 - 1:50<br />
     Kyle Fiore</p>
        
          <p>In this& ; course you  will learn how to write effective& ; grant proposals and understand how to  locate and evaluate requests for proposals to ensure the proposals you write  are able to persuade a client or funder to fund your project. You will also  analyze existing proposals to understand the persuasive moves they make. <br />
            Because proposal writing  is not a solitary task, but rather a process of working with others to identify  needs, locate opportunities, and develop a persuasive solution, it is helpful  to understand how the process works in the real world. To accomplish this need  for real world experience, the major project for the course will be to write a  real proposal by working with a local organization in a service learning  experience. As you write the proposal, you will draw off the principles of  rhetorical analysis, learning how to </p>
          <ul type="disc">
            Develop a clear description of       the problem, 
            Offer achievable objectives, 
            Design a logical solution, 
            Create specific and accurate       budgets, and 
            Present your organization       powerfully.
          </ul>
          <p>You will also learn  methods of writing persuasively that are both ethical and effective as well as  study how to use document design to enhance readability. </p>
        
    
    
 <p>518.002 Proposal and Grant Writing<br />
   TR 11:00 - 12:15<br />
   Valerie Thomas
 </p>
 
   <p>In this course you will learn how to write effective business  and grant proposals and understand how to locate and evaluate requests for  proposals to ensure the proposals you write are able to persuade a client or  funder to fund your project. You will also analyze existing proposals to  understand the persuasive moves they make. <br />
Because proposal writing is not a solitary task, but rather  a process of working with others to identify needs, locate opportunities, and  develop a persuasive solution, it is helpful to understand how the process  works in the real world. To accomplish this need for real world experience, the  major project for the course will be to write a real proposal by working with a  local organization in a service learning experience. As you write the proposal,  you will draw off the principles of rhetorical analysis, learning how to</p>
          <ul type="disc">
            Develop       a clear description of the problem, 
            Offer       achievable objectives, 
            Design       a logical solution, 
            Create       specific and accurate budgets, and 
            Present       your organization powerfully. 
          </ul>
          <p>You will also learn methods of writing persuasively that  are both ethical and effective as well as study how to use document design to  enhance readability.</p>
        
 
 <p> 520.001 Blue Mesa Review<br />
   CRN 39827<br />
   Justin St Germaine
 </p>
 
    
 <p>520.002 Stylistics Analysis<br />
   TR 9:30 - 10:45<br />
   Jerry Shea
 </p>
 
   <p>Stylistic Analysis (aka & ;Prose Style& ;) is  unlike any writing course you have ever taken.   We get down and dirty at the sentence level; my aim, as in all my  courses, is to rub your nose in the prose.   What makes for good prose?  What  makes for wretched prose?  We shall try  to find out.  Do you know the difference  between noun style and verb style?   Between hypotaxis and parataxis?   Have you ever thought about the different assumptions we bring to poetry  and to prose?  Has it ever occurred to  you that sometimes we look AT prose and sometimes we look THROUGH prose?  Take this course and revel in these  questions.  Six or seven short  assignments.  No midterm or final.</p>
 
 
 <p>520.011 Information Architecture<br />
   Online<br />
   Jonathan Price
 </p>
 
     
     <p>521.001 Creative Writing Workshop: Fiction<br />
       R 5:30 - 7:00<br />
       Dan Mueller
     </p>
        
          <p>The primary text of the Graduate  Fiction Workshop is the fiction written by the members of it. If every piece of  fiction has contained within it the seed, or blueprint, of what it ultimately  wants to become, it is the responsibility of the workshop members to articulate  this, orally and in writing, to the writer. In this way, the workshop helps the  writer to see what he or she has written more clearly. The instructor will  assign one published story and one craft essay each week. Members should expect  several writing exercises sprinkled throughout the semester. Each member must  submit to the instructor a final portfolio of revised fiction and to a literary  journal at least one finished piece of fiction for publication.</p>
        
    
    
     <p>522.001 Creative Writing Workshop: Poetry<br />
       M 4:00 - 6:30<br />
       Diane Thiel
     </p>
     
     
 <p>523.001 Creative Writing Workshop: Nonfiction<br />
   CRN 16579<br />
   W 4:00 - 6:30<br />
   Greg Martin
 </p>
 
   <p>his is a graduate writing workshop  focused on revision.& ; Each student will write two new pieces of creative  nonfiction, and the class will workshop each of these pieces three times.& ;  The goal of the course is to push you to produce more than you thought you  could, to break down what Jane Smiley calls & ;evasion strategies.& ;& ;</p>
          <p>Most often in a graduate creative  writing workshop, craft (plot, characterization, persona, etc) receives primary  emphasis, and there are good reasons for this.& ; But less often is  discipline, itself, emphasized.& ; The problem with too much emphasis on  craft is that it may lead the apprentice writer to believe that their most  important writing problems are craft problems.& ; They aren't.& ; Craft  can be taught and learned but it cannot be assiduously applied.& ; One might  argue that the inner discipline it takes to endure and produce as an artist is  itself a kind of craft knowledge.& ; Wynton Marsalis says, "Practice is  the first sign of morality in a musician."& ; What does practice have  to do with ethics?& ; Lots of things, especially if you define ethics as:  obedience to the unenforceable.& ; No one is forcing you to write anything,  much less write well.  The particular  subgenre of creative nonfiction you may turn in to the workshop is wide  open:& ; Memoir, Personal Essay, Lyric Meditation;& ; Travel Writing;  Literary Journalism, a hybrid of more than one subgenre.& ; It's all fair  game.& ; </p>
          <p>& ;Because of the structure of  the class, my assumption is that you have some grounding in creative  nonfiction, and so most readings for discussion in class will be limited to  essays on craft.& ; At the same time, each student will pursue their own  & ;Underground Reading Project& ; throughout the semester.& ; My hope is that  the course will push you stylistically and technically, and encourage you to  take risks, to raise your standards for what you consider good writing, and  then to meet those standards through the development of the habit of art.& ; </p>
 
 
    
 <p>535.001 Teaching Creative Writing<br />
   ARR<br />
   Sharon Warner
 </p>
 <p><strong>Catalog Description:  </strong>Provides theory and practice in teaching  creative writing at the university level.</p>
          <p>This  course will be taught in conjunction with English 224.006, Introduction to  Creative Writing, also taught by Professor Warner.  Students enrolled in English 535 will observe  and participate in the instruction of English 224 and make visits to other creative  writing classes being taught in the spring semester.  Enrolled students should expect to  participate in arranged small group discussions and to read excerpts from the  following texts:  <em>The Elephants Teach: Creative Writing Since 1880</em> by D. G. Myers; <em>The Program Era: Postwar Fiction and the  Rise of Creative Writing</em> by Mark McGurl; <em>Conversations on Writing Fiction: Interviews with 13 Distinguished  Teachers of Fiction Writing in America</em>, edited by Alexander Neubauer.</p>
        
 
 <p>538.001 Writing Theory for Teachers<br />
   T 5:30 - 7:00<br />
   Jill Jefferies
 </p>
 
   <p>This  course examines a range of composition theories and their evolution, with an  emphasis on sociocultural approaches and their bases in theories of mind,  language, and society. Students will inquire into how their own implicit  theoretical assumptions influence their practice, as well as how the  composition frameworks we explore might inform writing pedagogy. In addition to  this reflective work, students will design a composition curriculum and  construct a rationale for its application grounded in their interpretations of  course readings. </p>
 
 <p>540.001 Language &amp; Diversity<br />
   TR 2:00 - 3:15<br />
   Michelle Hall Kells
 </p>
 
   <p>ENGL 440/540 will provide intensive  study in language and literacy for teachers of   college writing (as well as K-12).    This course will bring three intellectual operating spaces into  conversation: Sociolinguistics, Composition Studies, and Second-Language  Literacy Education. The aim of this course is to guide the examination of  current theoretical and applied approaches to teaching  ethnolinguistically-diverse populations.   Selected readings will center on the nature of human language, the  processes of discourse acquisition, and the multiple dimensions of communicative  competence.  </p>
          <p>Special focus will be given to the  teaching of Composition informed by sociolinguistic theory and research.  We will attend to issues of: ethnolinguistic  identity, social stratification, linguistic racialization, language attitudes,  institutionalized discrimination and non-standard language varieties as well as  the ethical and social implications of hate-speech. </p>
          <p>This syllabus extends beyond the  study of language structure and use (grammar and function) and moves toward  applications of effective literacy practices as intellectual/critical acts of  social participation.  The core objective  of this syllabus is to cultivate theoretical and pedagogical approaches to  literacy education (informed by linguistics) that enhance student access and  success.</p>
        
 
 <p>543.002 Contemporary Texts in Rhetoric<br />
   M 4:00 - 6:30<br />
   Charles Paine
 </p>
 
   <p>The goal of this course is to help prepare you  to work as a practicing rhetor and to work with the ideas from rhetorical  theory (scholarship during graduate school, doctorate exams, and afterward). To  do this, we& ;ll take a cue from the Sophists, who said that preparing to be a  rhetor required principles, practice, and talent. We can& ;t do much about the  last of these, but we will focus on the principles (including theories) of  rhetoric provided by 20th- and 21st-century rhetoricians,  and you& ;ll get practice working with those principles, applying them to  rhetorical analysis and working with them. While this course is a continuation  of English 542 (Rhetorical Texts from Ancient Times through the Nineteenth  Century), English 542 is not a prerequisite. We& ;ll spend the first three  sessions making sure that everyone appreciates the complexity of the pre-20th-century  rhetorical tradition (e.g., the Sophists and the Athenian revolution in  consciousness, the contributions of Protagoras, what Aristotle meant and did  not mean by & ;rhetoric,& ; Enlightenment rhetoric, the language and  epistemological theories of  Emerson,  Nietzsche, and other proto-postmodern thinkers). <strong>NB: You will need to have read several articles for the first day of  class; please see the WebCT page or email me for the pdfs of those readings (</strong><a =" :cpaine@unm.edu"><strong>cpaine@unm.edu</strong></a><strong>).  </strong>In the rest of the semester, we& ;ll read more than we can talk about in  class and will basically cover the big names in the Bizzell and Herzberg  anthology. Throughout the semester, we& ;ll apply our theory by doing rhetorical  analyses of actual rhetorical acts. In the final four weeks of the course,  we& ;ll move to composition history, visual rhetoric and a book-length study of  21st-century applied rhetoric (tbd by us in the firs weeks of  class). <br />
Assignments will include reading, responding  to reading with informal writing, two in-class exams (for which you will  collectively supply the questions), two five-page reflections, conference  proposal, and a final portfolio with reflections. </p>
          <p>The books are available at the bookstore.  Details are available on WebCT. </p>
        
 
    
 <p>548.001 Beowulf<br />
   T 4:00 - 6:30<br />
   Helen Damico
 </p>
 
   <p>This is the  introductory course to Beowulf, and as such it is primarily a linguistic and  literary study of the first vernacular English poetic epic. It is meant to lay  the groundwork for an intermediate and advanced seminar. The student will  continue studying Old English grammar and syntax. Over half of the poem will be  translated from the original in class, although students are required to know  the entire poem. Yet, this is not a course that focuses only on translation.  After mid-semester, students will engage in short, introductory paleographical  and metrical exercises on selected portions of the poem. This will allow  students to become closely acquainted with the manuscript, Cotton Vitellius  A.xv and to begin to arrive at an understanding about the making of a secular  epic in the vernacular. Topics discussed in the course will include: Old  English poetic language and form; formula and formulaic systems; Old English  versification; the history of the manuscript; the dating of the poem; problems  of translations; structure and unity; methods of narration; relationship of  fantasy and "reality". </p>
          <p>Course  requirements: Midterm, short exercises in metrics, final, and individual and  class final projects. PRE-REQUISITE: 447/547 Old English, or the equivalent.  This course challenges the student, and applies toward the IMS Minor in  Medieval Studies and the MA and Ph.D. Concentrations in Medieval Studies in  English. Required Texts: Klaeber's Beowulf and the Fight at Finnsburg. 4th ed.,  edited by R.D.Fulk, Robert E. Bjork, and John D. Niles, University of Toronto  Press; Orchard, Andy. A Critical Companion to Beowulf. Cambridge, 2001. pb; A  Beowulf Handbook. Edited by Robert E. Bjork and John D. Niles. Lincoln, NE.:  University of Nebraska Press, 1997, pb; Orchard, Andy, Pride and Prodigies: The  Monsters in the Beowulf Manuscript. </p>
        
 
 <p>551.001 Medieval Studies<br />
   W 4:00 -6:30<br />
   Timothy Graham
 </p>
        
          <p>This course will offer intensive training in the research and bibliographic            skills necessary for the study of the Middle Ages while also introducing            students to the history of medieval scholarship from the sixteenth century            onwards. A key aspect of the course will be a detailed orientation to the            major published resources available to medievalists, including the volumes            of the Patrologia Latina, the Monumenta Germaniae Historica, and the Early            English Text Society, as well as the important series Early English            Manuscripts in Facsimile. Participants in the course will learn about the            techniques used by scholarly editors when preparing a medieval text for use            by a modern readership; they will also be introduced to the conventions of            the modern apparatus criticus. Students will learn how to read and analyze            charters and other types of medieval document and will receive instruction            in the basics of such important ancillary disciplines as medieval            chronology, sigillography, and prosopography. The section of the course            devoted to the history of medieval scholarship will include a special focus            on the origins and development of Anglo-Saxon studies from the sixteenth to            the eighteenth century. </p>
        
 
 <p>557.001 Victorian Studies<br />
   TR 2:00 - 3:15<br />
   Aeron Hunt
 </p>
 
   <p>This course is intended to give graduate students a broad  introduction to key intellectual, social, political, and aesthetic questions  that shaped British literature and culture of the Victorian period  (1832–1901).  The course will examine  five important topics writers engaged: the Condition of England question  (centering on the transformations produced by capitalism, the Industrial  Revolution, and the development of class society); Faith/Science); the Woman  Question (centering on gender roles and ideologies); Empire (including  questions of race and national identity); and Culture. We will discuss these  topics individually but also consider how they interrelate. We will read a wide  selection of Victorian fiction, prose, and poetry, along with historical and critical  selections.</p>
          <p>Authors  may include Matthew Arnold; Elizabeth Barrett Browning; Robert Browning; Thomas  Carlyle; Charles Darwin; Charles Dickens; George Eliot; Thomas Hardy; Christina  Rossetti; Dante Gabriel Rossetti; Algernon Charles Swinburne; Alfred, Lord  Tennyson; Oscar Wilde. </p>
          <p>Among  our selections of texts, we will be reading Dickens’s novel <em>Bleak House,</em> and George Eliot’s novel, <em>Middlemarch.</em> These are wonderful and  crucial novels—but they are long. Students are advised that it might be helpful  to get started reading over the break. We will use the Penguin editions of both  novels.</p>
          <p>Assignments  will include presentations, an annotated bibliography, short response papers,  and an article-length final paper (approx 18-25 pages). <br />
     </p>
 
 <p>564.001 Advanced Studies in Native American Literature<br />
   T 4:00 - 6:30<br />
   Kathleen Washburn
   <br />
 </p>
  
   <p>BIA reform are just some aspects of  the so-called & ;Indian problem& ; of the late nineteenth and early twentieth  centuries. For the first half of this course, we will focus on texts from the  turn of the century, a period in which a new generation of indigenous writers  found new markets for their work. We will investigate the range of literary strategies  that writers employ in order to represent modern Native communities and contest  the American mythology of a noble but vanishing race. In the second half of the  course, we will turn to more recent texts that invoke and reimagine this  earlier period for contemporary audiences. In doing so, we will address the  ways in which debates from the so-called & ;assimilation era& ; continue to shape  Native American literature and film today as well as critical debates about  cultural translation, literary history, and interdisciplinary  methodologies.  Texts will include  Charles Eastman& ;s <em>From the Deep Woods to  Civilization</em>, Zitkala-a& ;s <em>American  Indian Stories and Other Writings</em>, Luther Standing Bear& ;s <em>My People The Sioux</em>, Louise Erdrich& ;s <em>Tracks</em>, James Welch& ;s <em>The Heartsong of Charging Elk</em> and Thomas  King& ;s <em>Green Grass, Running Water</em>.  Course requirements include short response papers, a book review, and a  conference-length essay.</p>
 
 <p>568.001 The 19th Century Novel<br />
   TR 11:00 -12:15<br />
   Jesse Alem& ;n
 </p>
 
   <p>This course is an advanced introduction to the  nineteenth-century American novel understood in historical context. We’ll  examine novels as literary works and as cultural artifacts shaped by wider  social, political, and economic pressures. We’ll focus on the role of the novel  at the beginning of the nineteenth century, on the movement from antebellum  romanticism to post-war realist and naturalist modes, and on the cultural  significance of the novel as a genre. We’ll study the way key American novels  respond to or reproduce contemporaneous conflicts occurring around market  culture; family, sexuality, and gender; and race and nationhood. In the end,  we’ll come to understand the complex relationship between the rise of the  American novel and the rise of the nation in the nineteenth century. Selection  of texts will be based on narratives that were formative for defining and  re-defining the novel as a genre in the nineteenth century. </p>
          <p>Titles most like to include: <em>Charlotte Temple</em>; <em>Edgar Huntly</em>; <em>The Last of the  Mohicans</em>; <em>Hope Leslie</em>; <em>The Scarlet Letter</em>; <em>Ruth Hall</em>; <em>Moby-Dick</em>; <em>Dead Wood Dick</em>; <em>Huckleberry</em> <em>Finn</em>; <em>Ramona</em>; <em>McTeague</em>; and <em>Iola Leroy</em>. </p>
        
 
 <p>587.001 Genre Studies<br />
   R 4:00 - :30<br />
   Amy Beeder
 </p>
 
    
     <p><a name="600" id="600"></a>640.001 Seminar: Ideologies of Literacy
       <br />
       W 4:00 - 7:30
         <br />
     Michelle Hall Kells</p>
        
          <p>This  seminar will examine the historical, cultural, economic, political, and  educational dimensions of & ;literacy.& ;   The conceptualization, mythology, and practice of & ;literacy& ; (reading and writing) has become integral to  social access in our 21st century cosmopolitan universe (full civic,  economic,   and cultural participation—locally, nationally, and globally).  As teachers (of English Studies and  Education), we need to apply a critical lens  to the metaphors and models of literacy we adopt and promote. <br />
            <br />
            We will examine the question of  literacy as a key social value in the national imaginary. Literacy is not only  a practice (and outcome of public K-16 education) but a core value of both  American Constitutional culture and the Western tradition of higher learning.</p>
        
    
    
 <p>650.001 Seminar: Milton
   <br />
   R 4:00 - 7:30<br />
   Marissa Greenberg
 </p>
 
   <p>& ;Milton& ;s  Epics and Literary Radicalism: From <em>Paradise  Lost</em> to <em>Samson Agonistes</em>& ;</p>
          <p>In <em>Is Shakespeare Better than Milton?</em> Nigel Smith argues that, just as Shakespeare profoundly changed drama in  England and elsewhere, Milton & ;remade Western poetry in his grand epic and its  two sequel works& ;—namely, <em>Paradise Lost</em>;his brief epic, <em>Paradise Regained</em>; and his tragedy, <em>Samson Agonistes</em>. In this course we will closely read these three  works for Milton& ;s place in English literature, history, and thought, which  scholars have interpreted both as essentially conservative and as radically  liberal. In both his theory and practice of epic, Milton drew on ancient and  Renaissance precedent, often revolutionizing this tradition. In particular,  epic became for Milton a means of lamenting the failure of the English  Commonwealth and critiquing the restoration of the monarchy. Milton& ;s thinking  on matters of controversy in seventeenth-century England, including free will,  liberty, divorce, and censorship, are as evident in his poetry as in his prose.  Reading Milton& ;s epics and other poetry alongside his prose and with attention  to current critical issues, we will grapple with his legacy to poetry and  politics. Requirements will include generous participation, a presentation on  current scholarship, and an article-length final essay.</p>
        
 
 <p>650.002 Seminar: Fiction 1600-1650 in Theory and Practice
   <br />
   T 4:00 - 7:30<br />
   Carolyn Woodward
 </p>
 
   <p>This seminar takes the practice of  fiction from 1600 through 1850 and subjects it to critical scrutiny that itself  is a course of study in theory.  Readings  in the novel begin with Cervantes and end with Charlotte Brontë, and represent  a range of national literary traditions (for example, writers include Eliza  Haywood, Tobias Smollett, Chodorlos de Laclos, Jane Austen, Charles Dickens,  Nathaniel Hawthorne).  Theory of the novel  offers a number of advantages to the student of fiction. Unlike many areas of  literary theory, it does not rule out of bounds discussions of aesthetic value  and it views literary creativity as part of the historical world rather than  separating literary products from the world that produces and consumes them.  Our study of the field of novel theory will focus on three areas: genre,  literary-cultural history, and character.   Theorists include Benedict Anderson, Nancy Armstrong, Mikhail Bakhtin,  Michael Davitt Bell, Jonathan Culler, Fredric Jameson, Georg Lukács, Michael  McKeon, and Marthe Robert.</p>
   <p>One seminar  report, one 15-20 page publishable seminar paper and presentation.</p>
          <p>SYLLABUS<br />
            Week 1:           Introductory Lecture<br />
            Week 2:           Cervantes, <em>Don  Quixote</em>; Genre: Culler<br />
            Week 3:           Wroth, <em>The Countess  of Montgomery’s Urania</em>; Genre: Robert<br />
            Week 4:           Haywood, <em>British  Recluse</em>; History: McKeon<br />
            Week 5:           Hogarth (visual narrative); Smollett, <em>Roderick Random</em>; History: Jameson<br />
            Week 6:           Laclos, <em>Les Liaisons  Dangereuses</em>; Character: Rorty<br />
            Week 7:           Austen, <em>Emma</em>;  Character: Armstrong, Lynch<br />
            Week 8:           Foster, <em>The Coquette</em>;  History: Davidson<br />
            Week 9:           Dickens, <em>Sketches by  Boz</em>; Genre: Bakhtin<br />
            Week 10:         Seminar Reports<br />
            Week 11:         Buntline, <em>Magdalena,  the Beautiful Mexican Maid</em>; History: Anderson<br />
            Week 12:         Hawthorne, <em>The Scarlet  Letter</em>; Genre: Bell<br />
            Week 13:         Brontë, <em>Villette</em>;  Genre: Lukács<br />
            Week 14:         Seminar Presentations<br />
            Week 15:         Seminar Papers due</p>
 
 <p>660.001 Seminar: Avant Garde in America
   <br />
   MW 4:00 - 7:30<br />
   Scarlett Higgins
 </p>
        
          <p>If the historical avant garde died  in the trenches of World War I, unable to accept the real world consequences of  the shock that its members often celebrated and even promoted in their  forward-oriented aesthetics, its death obviously did not extend to the  experimental impulse in whole, nor to the fundamental urge to link art and  politics. This seminar, which takes as its point of departure the so-called  & ;death of the avant garde,& ; will assess how the engaged aesthetics of the Old  World were re-cast in the New World. In it we will seek to discover what it can  mean to be avant garde in a post-avant garde era. From the 1950's onward, how  has the spirit of the avant garde been amplified, extended, or complicated in  the work of individuals as well as groups? What forms and ideals does their  radically innovative practice assume? What constitutes the persistence of the  avant garde in America? Who gets to adopt or adapt this title—and to what ends?</p>
          <p>Together we will discuss the most  significant and influential work associated with what has come to be called the  New American Poetries, including Black Mountain, the San Francisco Renaissance,  the New York school, and the Beats, as well as the & ;last& ; avant garde in  America, the L=A=N=G=U=A=G=E writers. However, the work that we will consider  includes not only literary material but also visual art, films, and musical  compositions. </p>
          <p>Students will be evaluated on their  in class contributions (including formal presentations) and an article-length  essay due at the end of the term.</p>
        
  
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