Fall 2015 Course Descriptions

150.001: Introduction to the Study of English

TR 1100-1215
Kate Alexander, kalexk@unm.edu

150.002: Introduction to the Study of English

MWF 1300-1350
Justin Larsen, jlarsen1@unm.edu

English 150 serves as an introduction to the study and appreciation of literature for non-English majors. As such, this course is designed to increase enjoyment from reading by providing students with the tools to understand how literature works and the vocabulary necessary to talk about literature. Classes will center around the discussion of readings from various times, locations, and cultures, and the development of arguments about those readings. Four short (2-3 page) papers, one presentation, and a midterm and a final exam will be required.

150.607: Introduction to the Study of English

MWF 1200-1250
Kate Alexander, kalex@unm.edu

150.620: Why Burn Harry Potter Books? Children's Literature & Censorship

MWF 0900-0950
Sheri Karmiol, metzger@unm.edu

In this English 150 course we will focus on censorship of children's literature. In this fast-moving class, we will try to answer these questions--should children's books focus on topics such as child abuse? Should books for young children include homosexuality? Is it okay to be critical of American government and history? Should fairy tales be censored? While we may not be able to resolve these issues, we will emerge from this class with a better understanding of the interaction between community values, censorship, and children's books.  Texts: JK Rowling, Harry Potter; Judy Blume, Blubber; John Boyne, Boy in the Striped Pajamas; Sherman Alexie, Diary Of a Part-Time Indian. I have included a selection of fairy tales, short stories, poetry, and drama, all of which are in a reader, available at DSH.

150.634 Introduction to the Study of Literature

MWF 1000-1050
Deborah Wiegel, dweagel@unm.edu 

150.635 Introduction to the Study of Literature

TR 1400-1515
Matthew Hofer, mrh@unm.edu 

220.001: The Monsters Within Us: Monstrosity and Humanity in Literature and Popular Culture

MWF 0900-0950
Dalicia Kyleina Raymond, dalicia@unm.edu  

What makes a monster? What makes us human? This course will examine "monsters" in literature and pop culture and examine what these creatures tell us and teach us about being human, both on a societal and personal level. Monsters such as werewolves and vampires have persisted from medieval and gothic literature into today's pop culture, establishing, reinforcing, and reworking monster archetypes. Using examples from canonical literature, popular fiction, television, and film, we will explore monster archetypes and work to define what makes a character a "monster" and how monsters complicate and clarify our humanity. This will construct the foundation for the final semester project in wh ich students will select a type of monster for which they will research the history and analyze the function of this monster in a particular text. 

220.003: Expository Writing: The Monster: A Study of the Hideous, Haunting and Comedic in Film and Literature

MWF 1100-1150 
Megan Malcom-Morgan, megan90@unm.edu

The "monster" is a transgressive character that resonates throughout literature and film. The monster can be interpreted as a nonhuman beast, a shadowy apparition or a man who is psychologically deranged. The monster narrative creates a foundation for terror and fear -- a being that is not part of society and who becomes a cultural "other." However, the monster narrative is based on lies and untruths and creates a dialogue for what is hidden in dark places -- a silence that screams if we listen close enough. In this class we will explore literature, art, and film that portrays monsters. We will focus on the most popular monsters in our own culture, such as vampires, werewolves, Frankenstein's monster and many others. The course will also incorporate movie genres such as; Tim Burton's comedic horror and popular horror/slasher films, were the monsters just won't die. We will look at Ichabod Crane's mad dash through the woods (that he never escapes) to Marian Crane's fateful stop at the Bates Hotel. Along the way we will identify how the monster is constantly changing and moving through popular culture.

220.004: Female Image in Medieval Culture

MWF 1200-1250 
Jessica Troy, jtroy01@unm.edu

Despite the predominance of men in popular perceptions of the Middle Ages, women assumed the mantle of warriors, rulers, diplomats, saints, entrepreneurs, and zealots in medieval culture. This course will examine female figures who adopted these roles and allow students to explore the ways in which these roles shaped the place of women in medieval culture as well as identify reflections of these roles in the modern world.  Students will read medieval works in translation, including excerpts from Beowulf, The Canterbury Tales, Arthurian literature, and saints’ lives.  We will investigate how the women in these texts are represented in their respective roles and shape their identities, discuss the larger meaning of those functions in medieval culture, and work to recognize the persistence of these roles into our modern society.

220.005: Expository Writing: Comic Books and Multimodal Literacy

MWF 1300 -1350 
Andrew Bourelle, abourelle@unm.edu

In his book Graphic Encounters: Comics and the Sponsorship of Multimodal Literacy, Dale Jacobs explains that in comic books meaning is created through the combination of written text and visual illustrations to achieve effects and meanings that would not be possible in either a strictly print or strictly visual text. In this English 220 class, students will read comic books and graphic novels, discuss the way the stories are constructed, and rhetorically analyze the effects created by the combination of visual and written elements. Students will also develop their own graphic narratives by writing scripts, storyboarding pages, and illustrating (to the best of their ability) the final drafts. In studying comic books and graphic novels--and the way the written text and illustrations support one another--students will put the genre in the larger context of multimodal literacy. The term "multimodal" refers to a composition that combines writing with other modes of communication tion, such as video, audio, or visual elements. Therefore, the study of comic books will help students rhetorically analyze and understand videos, podcasts, websites, brochures, board games, and various other kinds of multimodal projects.

220.006: Western Film & Literature

MWF 1400-1450 
Matthew Maruyama, mmaruyama@unm.edu

This class will focus on four primary texts: "Blood Meridian" by Cormac McCarthy, "Butcher's Crossing" by John Williams, "Warlock" by Oakley Hall, and "Son of a Gun" by Justin St. Germain. Discussion will be centered on how these five novels use the genre of the Western in order to debunk and expose the myths of the Wild West and how the violence that accompanied Westward Expansion in the 1800s has affected our contemporary politics and the way in which we've shaped an American identity. We will also watch some of the early films of John Wayne and Gary Cooper and will follow the progression of the genre through to the Spaghetti Westerns and to Clint Eastwood's masterpiece, "Unforgiven." Through this progression, we will discuss how the Western genre has pushed into the intellectual realm, where psychological depth and complexity has replaced the simplicity of heroism. 

220.007: Irony and Contemporary Cynicism

MWF 1500-1550 
Will Barnes, whb100@unm.edu

This course will examine the use of irony in popular and academic culture -- including television, literature, music, fashion, movies, and academic writing -- asking the questions: does the prevalence of irony in popular culture indicate an increasingly cynical worldview? And if so, what consequences may there be for the "˜cynical' generation? Through an analysis of "˜hipster irony' in sequence 1, satirical irony in sequence 2, and philosophical irony in sequence 3, alongside a continual investigation into the meaning of cynicism, we will develop deep and nuanced responses and answers to our research question articulated in multi-modal and genre diverse media from blogs, PSAs, radio broadcasts, and podcasts, to argument ative papers, screenplays, pitches, group PowerPoint presentations and websites.

220.010: The American Dream: Unattainable Myth or Reality?

MWF 1000-1050 
Corinne Clark, cclark17@unm.edu

The American Dream has motivated countless movies, books, and television programs throughout the 20th century. Presently, the term and the vast idea it represents is used in media, education and in discussions about literature, film and various other mediums of art. As the country has evolved throughout the last century, the dream should have theoretically evolved as well. The question is; what has it become? Does it really exist anymore, or is just an unattainable goal we continue to strive for? In this course we will explore the question of if and how the dream has evolved, focusing on how it has experienced and withstood changing economic situations, increasingly diversified populations, changing education standards, and the influence of Hollywood. We will read five primary texts, The Great Gatsby, by F. Scott Fitzgerald, The House on Mango Streetby Sandra Cisneros, The Joy Luck Club by Amy Tan, Day of the Locust, by Nathaniel West, and American Pastoral by Philip Roth (book list subject to change) as well as various critical essays and articles throughout the semester in order to better inform our discussion. These texts will give us the opportunity to read about and understand the American Dream from different perspectives. We will encounter characters that have recently immigrated, characters that fall into different social and economic classes and characters of both genders. However, one quality that all of these characters share is their struggle to accomplish the American Dream, or create their own. We will also determine what the American Dream means to us as individuals; does it still exist, is it a primary motivator, is it as important as it once was? Reading examples of American Dream literature and developing your own understanding of the idea will adequately prepare you to write your personal American Experience; integrating common thematic elements and your own personal perspective on the reality (or lack thereof) of the American Dream. The coursework will include: weekly journaling, an exploratory essay, a well-researched literary analysis, a personal narrative and a final reflection.

220.021: Writing About Art

Online - Please see note in the course description.
Matthew Irwin, matthewji@unm.edu

This is a course in developing critical thinking and writing through art and art criticism. Building off of John Berger's Ways of Seeing, we will take a non-formalist approach to viewing visual art, theater, music and hybrid artforms. We will focus instead on contexts such as the poetic, the personal and the regional, as well as race, indigenaity, gender and sexuality. In addition to Berger's seminal work, we will read excerpts and articles from Lucy Lippard, Frank O'Hara, Rebecca Solnit, and David Levi-Strauss, among others. Our textbook will be William Zinsser's On Writing Well. The assignments include a literary analysis ofWays of Seeing, a review of a local exhibition or performance, and a research paper ce ntered on students' areas of interest. This latter assignment may focus on developing the theoretical underpinnings of a studio practice, for example, or center on the work or works of a particular artist.

After the course begins, students and the instructor will arrange an optional weekly meeting to go over readings and assignment details. We will also determine together if we want this meeting to be in person or online.

220.022: Reading the City: An Exploration of Urban Scrawl

Online
Ty Cronkhite, tcronkhite@unm.edu

In this online class we will explore writing as it occurs in the city, both in literature and on the walls. Albuquerque itself provides many opportunities to experience unique urban narratives, from the Petroglyph National Monument to the rainbow dripping down from the Anasazi Building at Sixth and Central. We will read essays and literature about the city in addition to reading the city itself as it is written on walls (graffiti), billboards, street signs, cardboard signs, help wanted signs, monuments, people (tattoos), etc. The words and images in the city, wherever they may be found, tell a story. We will learn to make sense of this story by performing a rhetorical analysis of a local artifact, by writing a personal narrative describing the city similar to Walter Benjamin's "Hashish in Marseilles" (preferably without the hashish) and George Orwell's "Down and Out in Paris" (Preferably without becoming down and out), and we will synthesize this work into a larger final project on the topic of the city and urban space. Ideally, we will leave the class with a more profound sense of our relationship to the city, the social issues that define the city, and a vital competence in reading, composing, and participating in the urban public sphere.

220.023: Food: Common Questions and Controversies Explored

Online 
Maya Alapin, maya.alapin@gmail.com

Food is one of those topics that makes many people roll their eyes. Such confusion exists around food-related topics, particularly ones related to our American culture, like genetically modified food, obesity, organic vs. conventional food, and so on. This class looks at such questions and extends the discussion further into the land of fancy food, food as meditation and the world of foodies. Some questions we will investigate include: What is different about American food and/or diet? How did humans decide on the "right" foods? What are the pros and cons of the raw food diet, vegetarianism, veganism, paleo, etc.? Is there really a difference between organic and conventional food? How shall we decide what to eat? Is food just f food, or is it symbolic, artistic, or meaningful in other ways? Because students enrolled in this course unexceptionally have experiences in and with food, they are able to draw on their own experiences, opinions and reactions when responding to online discussions and in responses to their peers. This makes for a highly interactive online course that succeeds in drawing the student into freewrites, peer feedback and which engages students in multimedia projects that they can tailor to their interests.  The course references videos and texts. The texts will be provided on Learn. Some videos will have to be rented (but at a lower cost than any textbook): Supersize Me (movie), Food Inc. (movie), Jiro Dreams of Sushi (movie), The Perfect Human Diet (movie), The Way We Eat (reading), Nourishing Traditions (reading), The Revolution Will Not Be Microwaved (reading), The Art of Simple Food (reading). There will be smaller stake daily assignments that draw on other online sources like food/health blogs and advertisements. For example, we will read and write short pieces on what gross stuff is found in common foods, how an athlete eats compared to a sedentary person and how foodies have become popular in this generation. Towards the end of the course, daily activities will examine food as art, and challenge the student to take a symbolic/analogical point of view on food.  Students in this course engage with multimedia work. Though the first project of the course is a traditional essay, the first project also asks that students illustrate their interpretations using music, video, Prezis, websites, voice-overs, fine art pieces or another medium of their choice. Similarly the final term project allows students to compose a Food Manifesto in the form of a fully integrated multimedia project. The course includes a bi-weekly Weebly lab to enable all coursework to be published on a personal student website. Though the goal is to engage with many mediums, students do not need any prior knowledge in technology to take this class. 

220.032: Expository Writing: The Cultural Hero

TR 1100-1215 
Mark Caughey, mcaughey@unm.edu

This course will explore not only how cultures construct their heroes but also how heroes construct a sense of cultural identity. We will consider both the hero's ancient origins and its transformation over time and across cultures -- from the epic hero to its latter-day counterpart: the superhero. To that end, we will examine such texts as The Epic of Gilgamesh, The Saga of the Volsungs and Christopher Nolan's Dark Knight trilogy. Along the way, we will develop a framework that will help us understand how some characteristics of the hero remain constant while others arise from specific cultural beliefs and values. Students will hone their writing and research skills through assignments that include reviews, comparative analyses and annotated bibliographies.

220.033: Expository Writing: Utopia/Dystopia

TR 1230-1345 
Mark Caughey, mcaughey@unm.edu

Since long before Sir Thomas More penned Utopia, writers have envisioned both perfect societies and their nightmarish counterparts. Along the way, these authors have created not only a utopian/dystopian discourse but also a kind of rhetoric through which they have critiqued the very societies they lived in. This course will examine these texts not as escapist fantasies but as fictions that grapple with the dynamics of the real world. Readings will include works by Edward Bellamy, Charlotte Perkins Gilman, Aldous Huxley, Alan Moore and Suzanne Collins. We will also consider how utopian and dystopian visions play out in popular film and in the virtual worlds conjured online. Students will hone their writing and research skill through assignments that include literary analyses, rhetorical analyses, and multimodal presentations. 

220.036: The Good, The Bad, and The Beautiful

TR 0930 -1045 
Ana June, anajune@unm.edu

University of New Mexico alum Edward Abbey, well-known author and defender of wilderness, said: "There is beauty, heartbreaking beauty, everywhere." The beauty Abbey describes has inspired countless people to defend and celebrate the environment through various forms of writing and art. In this class, we will start from that point of inspiration and ask what is it about our Earth that moves us. We will read and discuss environmental literature and explore nature-based art to get to the heart of this inspiration. Then we will look closely at the various ways this inspiration has been expressed by others over time, and learn more about environmental threats both past and present. We will also discuss activism in defense of the environment, and talk about what it means to defend our natural spaces and resources. Finally, we will return our focus to beauty, and you will create some of your own through writing and/or art. Perhaps you'll write a paean to wilderness, as Abbey did in Desert Solitaire, or create a thought-provoking installation using natural elements, ala Paul Goldsworthy or Michael Grab. This multimodal class is appropriate for both writers and visual artists, and will culminate in a solid digital portfolio of your best environmental work. All students will be required to keep a journal or blog for the duration of the class. Preliminary reading list includes work by Edward Abbey, Annie Dillard, Bill McKibben, Rachel Carson, Luci Tapahonso, Leslie Marmon Silko, Henry David Thoreau, and Barry Lopez.

224.001: Introduction to Creative Writing

MWF 1000-1050
Lawrence Reeder , lreeder@unm.edu

Hello, future writers! In this introduction to creative writing course, we will focus our study in the genres of poetry, fiction, and nonfiction. This course involves intensive reading and writing assignments for the purpose of examining the craft elements in each of the three genres. Additionally, as writers ourselves, we will practice implementing those elements to make our writing more vivid, energetic, and effective. Some of the elements that we will discuss are: image, language, character, voice, setting, story and revision. Come join in! This is going to be an exciting time to explore the possibilities of being a creative writer! 

224.002: Introduction to Creative Writing

TR 1400-1515 
Celia Laskey, claskey@unm.edu

Think about a piece of fiction, poetry, or creative nonfiction that has stayed with you. What about it was so memorable? It likely was because the narrator had a distinct, engaging voice. Voice is what makes a piece of writing sound like a unique person. You could call it the personality of the prose. You create voice through a combination of word choice, syntax, and the way the narrator sees the world. Voice is the first building block of creative writing--everything else stacks on top of it, and without it, a piece falls apart. The secondary building blocks of creative writing include tone and mood, setting, round characters, point of view, narrative structure, and theme. Each week, we will complete a short writing exercise that's based on a piece from a successful writer. We will do a close reading of this piece, and then emulate some of the moves the author made in order to understand how to be successful in our own work. Students will choose one of their short writing exercises to expand into a full-length short story, piece of creative nonfiction, or a collection of poems.

224.003: Creative Writing

TR 1100-1215 
Lucas Shepherd, lshepherd@unm.edu

Creative Writing: From the Page to the Screen is an exploration of fiction, creative nonfiction, poetry, and even drama/screenplay. We will read and analyze a certain book, poem, and/or script, and then watch the film upon which tht text was based. From "Howl" to "Mulan" to "No Country for Old Men" to "Minority Report" to "The Shawshank Redemption," (and more!) we will investiagte a blend of genres that have been cinematized. On top of this analytical work we will also workshop students' original work in a variety of genres.

224.004: Introduction to Creative Writing

TR 1700-1815
TBA 

224.005: Creative Writing: Understanding Poetry, The Essay, & Graphic Novel

MWF 1300-1350 
Melisa Garcia, mgarcia28@unm.edu

This course will explore contemporary poetry, the essay, and the graphic novel. Students will explore from various contemporary poets like David Campos, Laurie Ann Guerrero, Eduardo Corral, Gary Jackson, Natalie Zapico, Franny Choi, and others. Students will pay close attention to these poets works for voice, style, and craft. While understanding the conventions of poetry, students will also look at the essay in CRWT NF and explore various craft elements in Joan Didion, James Baldwin, Susan Sotang, and other writers. Finally students will explore the genre of the graphic novel with a critical eye on how fiction/nonfiction functions to support the tedious construction of the graphic novel through reading Scott McCloud's Understanding Comics and reading graphic novels like Asterios, Ghost World, Blankets, Persepolis, Are you my Mother? and other titles. The goal of the class is to have students read various writers in their prospective genre and have students engage through craft essay and the creation of their own creative work. This class will also consist of attending creative writing events, exploring genres and understanding the ways in which these poets, essayists, and graphic novelist explore storytelling. 

224.006: Introduction to Creative Writing

MWF 1100-1150 
Cat Hubka, chubka@nm.edu

This course is an introduction to the basic craft elements, discipline, and terminology of Creative Writing. Students will practice the craft by reading, writing and critically engaging with their own and other work in the primary genres of poetry, fiction, and nonfiction. Students will establish writing goals and create a disciplined approach to their writing.

224.008: Intro to Creative Writing

TR 0930-1045 
Charles Wormhoudt, cwormhoudt@unm.edu

A beginning course in the writing of fiction, poetry, and creative nonfiction. Emphasis on process over product. Introduces issues of craft, workshop vocabulary, strategies for revision, and the habit of reading as a writer. This course will be part seminar, reading a variety of published work closely for analysis of craft elements, and part workshop, analyzing each other's work for its successful use of those elements. Thus there will be an equal emphasis in this course on reading and writing, both inside and outside of the classroom. Students should leave the course with a better understanding of their own writing and process as well as that of successful authors and fellow students.

240.001: Traditional Grammar

MWF 1000-1050 
Cristyn Elder, celder@unm.edu

Most native speakers of a variety of English use the language every day without having to think about the rules. In fact, people who have learned English as a foreign language often know the grammatical rules of standardized English, for example, better than native speakers. In this class, we will learn various parts of speech (nouns, verbs, adjectives, adverbs, prepositions) and how they are put together to create meaningful units of sentences and basic sentence patterns. And, as English is a rule-governed system that changes over time, we will also look at examples of language change and common language attitudes. Course work will consist of quizzes, short assignments, short papers, readings, and discussion assignments. 

240.002: Traditional Grammar

MW 1100-1215 
Cristyn Elder, celder@unm.edu

Most native speakers of a variety of English use the language every day without having to think about the rules. In fact, people who have learned English as a foreign language often know the grammatical rules of standardized English, for example, better than native speakers. In this class, we will learn various parts of speech (nouns, verbs, adjectives, adverbs, prepositions) and how they are put together to create meaningful units of sentences and basic sentence patterns. And, as English is a rule-governed system that changes over time, we will also look at examples of language change and common language attitudes. Course work will consist of quizzes, short assignments, short papers, readings, and discussion assignments.

249.001: Introduction to Studies in English

W 1100-1150
Gail Houston, ghouston@unm.edu 

249.002: Introduction to Studies in English

T 11:00-11:50
Gail Houston, ghouston@unm.edu 

250.001: Literary Textual Analysis

TR 0930-1045 
Sara L. Townsend, sltownse@unm.edu 

This course will provide an introduction to literary studies by exploring texts’ global motions and afterlives. We will ask what happens to literary texts as they circulate to other historical and geographical settings through influence, adaptation, and translation. Drawing on a variety of critical approaches to literature, some longstanding and others very new, we will consider what literature means—and how it produces meaning—even as it migrates and mutates well beyond its point of origin. English 250 will anchor its critical explorations through an investigation of the major genres of literary study. We will begin by reading Federico García Lorca’s 1934 Spanish play Yerma alongside Tarell Alvin McCraney’s 2010 adaptation, In the Red and Brown Water, which is set in modern-day New Orleans. From there, we will encounter several types of witness poetry from sites like the Angel Island detention center, the contemporary Kenyan elections, and the Foxconn factory in China; thematically linked African-American and Indian novels, Ralph Ellison’s Invisible Man (1952) and Aravind Adiga’s The White Tiger (2008); and the film adaptation of Kazuo Ishiguro’s 2005 novel Never Let Me Go. By drawing together literary, critical, and historical readings, English 250 will introduce students to the far-flung possibilities that reside within world literature.

250.002: Literary Textual Analysis

MW 1700-1815 
Leandra Binder, lbinder@unm.edu

Provocative, scintillating and scandalous, the Decadent Movement shocked late 19th century readers by bringing into mainstream literary and artistic conversations such controversial topics as madness, decay, sexuality, hedonism, and other topics widely considered too degenerate for polite circles. In this course you will gain a cultural and historical framework for Decadent works of poetry, drama, and fiction from fin de siècle England in order to better utilize literary theory to engage deeply with the rhetorical moves of some of the most noteworthy and scandalous short pieces of the movement. In the analysis of these texts, you will be encouraged to explore the nature of literature, what defines a work as literature, and what factors inform an individual or cultural reading of any given work. To inform debate on these themes, we will read theoretical texts from four theoretical disciplines: Marxism, Psychoanalytic Criticism, Reader Response Criticism and Post-Structuralism. Students taking this course will be asked to question not only the texts they read, but also to question what informs their own reading of each text, and even to question the act of reading itself.

250.003: Literary Textual Analysis

TR 1230-1345 
Ann D'Orazio, dorazio@unm.edu

This course will introduce students to terminology, practices, and theories that inform literary study. We will read and analyze a variety of texts in multiple genres--poetry, short fiction, the novel, the comic book/graphic novel, and non-fiction--to locate and understand how readers and texts engage in the messy process of cultural production. Selections of literary theory and criticism will accompany our primary readings. This course will familiarize students with major critical paradigms such as Marxism, Psychoanalysis, Structuralism, Deconstruction, Critical Race Theory, Feminism, Postcolonial Studies, and Cultural Studies. This course will enable students to develop and hone close reading, analytical writing, argumentation, and research skills. Required coursework includes a class presentation, active participation in discussion, short reading responses and two longer papers.

250.005: Literary Textual Analysis

MWF 1000-1050 
Scarlett Higgins, shiggins@unm.edu

English 250 is the gateway course to the English major. In it we will learn the fundamental skills needed for literary textual analysis, including critical reading practices, construction of an argument, the use of textual evidence to support an argument, and the best practices for bringing all of these skills together in a research essay.  To do so, we will study a variety of texts in the major genres (literary fiction, poetry, and drama, in addition to film and graphic novels) all of which have themselves been adapted, transformed, or created as an homage to a text in a different genre. Close analysis of these texts will allow us to see clearly the ways that concepts of genre, inherently involving reader/viewer expectations, affect our reading practices.  Sample texts may include a segment on noir, with Raymond Chandler's novel The Big Sleep (1939), Howard Hawks' film adaptation of the novel (The Big Sleep (1946)), and the Coen brothers' comic update to the noir genre, The Big Lebowski (1998); a segment on Shakespeare's sonnets and Jen Bervin's transformation of them, Nets (2003); Vladimir Nabokov's novel-as-poem Pale Fire (1962); and Ron Wimberly's 2012 graphic novel adaptation of Shakespeare's Romeo and Juliet, entitled Prince of Cats.

290.002: Introduction to Professional Writing

MWF 1400-1450 
Nicholas DePascal, depascal@unm.edu 

292.002: World Literature through the 16C

TR 1400-1515
Doaa Omran, domran@unm.edu 

Beginning with the earliest literatures of the Ancient World, working up through the Medieval Period and moving into the Early Modern period, this course will explore some of the key works of the world's literatures through the seventeenth century. Placing memorable plays, poems, and works of fiction in their cultural and historical contexts, we will not only gain a greater understanding of the development of literature and literary traditions in Egypt, China, Mesopotamia, Greece, Rome, Japan, Persia, Arabia, Europe, India, and the Americas, but we will gain a sense of history and a sense of the differences and similarities that shape the varieties of human experience across time and cultures. As we marvel at powerful tales about love and war, heroic journeys, spiritual pilgrimages, courtly intrigue, and colonial contact we will be alert to the varying degrees that these works display the globalizing tendencies that have culminated in the richly diverse tapestry of the modern world. Readings will include all or parts of such works as the Epic of Gilgamesh, The Odyssey, The Ramayana, The Aeneid, The Inferno, and The Tale of Genji; selections from the Hebrew and Christian Scriptures, Bhagavad Gita, and Qur'an; plays by Aeschylus, Kalidasa, and Shakespeare; poetry by Sappho, Catullus, Li Bai, Ono no Komachi, Petrarch, Ibn Hazm, and Farid ud-dun Attar; as well essays, letters and memoirs by Macchiavelli, Ibn Khaldun, Montaigne, and Columbus. Requirements will include several short papers, quizzes, and a midterm and final examination.

293.001: World Literature 17C through Present

MWF 0900-0950 
Deborah Weagel, dweagel@unm.edu 

293.002: World Literature 17C through Present

MWF 0900-0950 
Sinae Kang, sinaekg@unm.edu

Welcome to English 293! In this class, we will explore some of the key texts in world literatures from the 17th century through the present. We will see how literary texts initiate, provoke, and engage in critical dialogues with the historical, cultural, political, and economic context of their creation and consumption across the boundaries of time and space, cultures and languages. We will engage in discussions of critical issues of culture and identity, nation, otherness, translation, transculturation, and globalization. We will read a variety of genres including poetry, fiction, drama, and nonfiction prose of from Europe and Americas, Asia, Africa, India, and Arabic World.

294.001: Survey of Early English Literature: Here Be Monsters

TR 1700-1815 
Karra Shimabukuro, kshimabukuro@unm.edu

This course will introduce students to the principle texts of the Middle Ages and Renaissance as well as some lesser-known writings, teach them to identify and analyze literary forms unique to these early periods, and familiarize students with the historical contexts ( contexts that shape early literary representations of monsters and travel). Monsters and travel, specifically monsters and their location on maps have been a constant through history. This connection between monsters and traveling will be our lens for our survey course this semester. Throughout history people have often defined themselves through not only what and who they saw as monstrous, but also how they viewed and explained the wider world around them. Pilgrimages and travel writing, as well as what was considered exotic through time periods can reveal a lot about the time and the people who lived then. For our survey of literature from the eighth through the eighteenth centuries, we'll focus on the literary monsters from Grendel to Marie de France's werewolf, Bisclavret, to Shakespeare's Caliban. We'll also consider how English defined themselves and what their place in global world was, where they placed themselves on the map. We'll read adventure plays such as The Travels of Three English Brothers and poems and pamphlets on the dangers these travels presented in order to analyze how these global views affected Early Modern nationalism, and England's growing imperial and global interests. The assignments for the course will consist of a close reading paper, a multimedia project, reading quizzes/participation, a choice of a final paper or project, and a final exam.

294.002: Survey of Early English Literature

MWF 1100-1150
Carolyn Woodward, woodward@unm.edu 

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"), surprising modern in its graphic details about sex. We'll make use of Norton's Web resources to enrich our readings: for example, of Chaucer's Canterbury Tales with materials from Muslim and Jewish histories, and of Olaudah Equiano's slave narrative with 18th-century arguments for and against the slave trade. 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. Texts: Norton Anthology of English Literature 1: vol A, B, and C.

296.004: Earlier American Literature

MW 1700-1815
W Oliver Baker, woliverb@unm.edu 

This course surveys American literatary history from pre-contact to the end of the Civil War. Starting with American Indian creation stories, we will cover a variety of literary genres, including oral tradition, autobiographies, political documents, and letters in addition to novels, short stories, and poetry. Readings, discussions, and assignments will untangle how literary texts exist in a multitude of cultural contexts, exploring issues of gender, race, class, and regional and national identity to come to a better undetstanding of the multitude of American identities and histories.

297.001: Later American Literature

TR 1100-1215
Bernadine Hernandez, berna18@me.com 

In this course, we will survey the development of U.S. literary history from the end of the civil war (1865) to the present as we examine a diverse scope of authors and major literary movements, styles, and forms in the development of the nation. We will be looking at the major literary movements and consider texts in the context of realism, naturalism, regionalism, modernism, the Harlem Renaissance postmodernism, and the contemporary novel. Simultaneously, as we attempt to understand the characteristic and importance of each movement, we will also examine that many authors and texts resist easy categorization and what literary innovations they use to comment and respond to a changing nation. Additionally, we will look at how processes of differentiation, such as race, class, gender, and sexuality manifested throughout American history.  Over the course of the semester, we will be supplementing and complementing our readings and discussions of later American literature in two ways: first, to think about this literature within a larger cultural context, we will look at it alongside other media from the period, including film, music, and art. Additionally, we will incorporate digital tools for literary and cultural study as a way of interpreting American literature of this period. Requirements: active participation and attendance, two short essays, a midterm and a final exam.

297.002: Later American Literature

Online 
Daniel Worden, dworden@unm.edu

This course surveys U.S. literary history from 1865 to the present. Over the course of the semester, we will study works from major styles, movements, and forms in American literature, including regionalism, realism, naturalism, modernism, the Harlem Renaissance, confessional poetry, the Beat movement, postmodernism, and contemporary writing. American literary history is a contested terrain, and accordingly, this course is designed to foreground the central themes, problems, and concerns of American literature. We will devote particular attention to the question of the "individual" in American literature and the relation of literature to economics, politics, and society.

304.001: Bible as Literature

TR 1100-1215
Janet Gaines, jhgaines@unm.edu 

305.001: Mythology

TR 0930-1045 
Nicholas Schwartz, nschwar@unm.edu 

This class will provide students with a survey of archetypes and theories of myth, including creation stories, marriage, the scapegoat, and a variety of interpretations of the hero pattern. Those patterns and theories will be considered by reading and analysis of a cross-section of myths from a variety of cultures. Featured texts will include The Odyssey, Ovid's Metamorphoses,and selections from The Prose Edda, Le Morte Darthur, the Bible, and the Popol Vuh. Course requirements will include three exams, three essays, and a variety of short assignments.

306.010: Arthurian Legends: Medieval to Modern

TR 1530-1645 
Anita Obermeier, aobermei@unm.edu

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 challeng e 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.

315.002: Interdisciplinary Approaches to Literature

R 1730-2000
Carlos A. Contreras, soothxsayer@unm.edu 

315.004: Interdisciplinary Approaches to Literature

TR 1400-1515
Finnie Coleman, coleman@unm.edu 

315.006: Interdisciplinary Approaches to Literature

W 1600-1830
Levi Romero, xlromero@unm.edu 

315.007: Interdisciplinary Approaches to Literature

MTWRFS Dec. 14-19 0830-1530
Ann Skinner Jones, askins@unm.edu 

315.010: Comics and Graphic Novels

Online 
Daniel Worden, dworden@unm.edu

Comics are a major form of storytelling in modern culture, from early strips like The Yellow Kid and Dick Tracy to contemporary, award-winning works such as Alison Bechdel's Fun Home and Art Spiegelman's Maus. In this course, we will study the history of comics, from newspapers strips and superhero books to the canonization of the contemporary "graphic novel," as well as the unique structure and style of the comics form. Along with comics themselves, we will read critical essays from the emerging field of comics studies that seek to develop unique methods for the interpretation of comics as a literary and visual form. Over the course of the semester, we will explore how to read, interpret, and contextualize comics. More particularly, we will focus on comics history and the comics form in the first half of the semester, and in the second half of the semester, we will read a number of contemporary graphic narratives and develop our own accounts of contemporary comics art and culture.

320.001: Rhetoric of Place & Belonging

TR 1400-1515
Michelle Kells, mkells@unm.edu

Cultivating skills in critical analysis is productive for students of Rhetoric, Literature and Creative Writing. "As soon as a [text] tries to influence one or more persons, to orient their thinking, to excite or calm their emotions, to guide their actions, it belongs to the realm of rhetoric." This course invites students to consider the notion of place and the dimensions of belonging as central to the formation of community and the production of literary and rhetorical arts. This course will apply modern rhetorical theory to the analysis of diverse literary and rhetorical genres centering on themes of place and belonging: fiction, poetry, argumentative essay, and narrative. Selected readings and course assignments will be of interest to undergraduate students in English concentrating in Rhetoric and Writing, Literature, and Creative Writing. The content of the course will be equal parts: Rhetoric; Philosophy; Myth; Ecology. Learning Outcomes:

• Promote awareness and reflection on issues of place and belonging;
• Cultivate a rich intellectual community within and outside the classroom setting;
• Explore the dimensions of the rhetorical situation shaping texts, authors, and audiences;
• Offer an introduction to a variety of place-based texts and genres;
• Examine environmental ethics in relation to cultural world views and epistemologies;
• Guide opportunities for writing and research on topics relevant to student's experience and understanding of location;
• Participate in field research exercises and travel to local field sites;
• Provide opportunities to circulate and share students' research and writing.

Themes

• Metaphors of Nature
• Alienation and Engagement
• Rootedness and Displacement
• Local and Global Environments
• Culture and Nature
• Balance and Imbalance
• Scarcity and Abundance
• Continuity and Change
• Body (Physical) and Spirit (Metaphysical)
• Competition and Cooperation
• Regeneration and Extinction
• Community and Solitude
• Urban and Wilderness
• Consumption and Conservation
• Sustainability and Depletion .

Course Units include: Unit 1: Food for the Soul; Unit 2: Writing for the Soul; Unit 3: Ceremony for the Soul; Unit 4: Places for the Soul; Unit 5: Journeys for the Soul.

321.001: Intermediate Creative Writing: Fiction

MW 1600-1715
Jack Trujillo, jacktru@unm.edu  

This is a craft-based class in short literary fiction. The focus of our work is one 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 in multiple ways the first short story you write: changing point of view, starting the story at an entirely new place, or 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 to be chosen by you in consultation with me.

321.002: Intermediate Creative Writing: Fiction

TR 1400-1515
Jack Trujillo, jacktru@unm.edu  

This is a craft-based class in short literary fiction. The focus of our work is one 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 in multiple ways the first short story you write: changing point of view, starting the story at an entirely new place, or 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 to be chosen by you in consultation with me.

321.010: Intermediate Creative Writing: Fiction

Online
Julie Shigekuni, jshig@unm.edu 

This online workshop will focus on close reading and experimentation. During the first half of the semester, you will create story fragments, each week isolating and treating an element of craft (e.g., character, setting, plot, point of view, theme) that contributes to an engaging narrative. Once you are familiar with how craft functions in story, you will develop your story fragment into a multi-layered story utilizing workshop critique. As well, you will critique stories written by your classmates with an eye toward revision. Required texts: The Art of the Story, Daniel Halpern, ed. (Penguin 1999); Naming the World, Bret Anthony Johnston, ed. (Random House 2007); On Writing, Eudora Welty (Modern Library 2002).

322.001: Intermediate Creative Writing: Poetry

TR 1230-1345
Luci Tapahonso, tapahons@unm.edu 

In this intermediate workshop course, class sessions will focus on particular techniques or elements of poetry (i.e.: diction, perspective, rhythm, forms of poetry, etc.). Exercises and assignments will accompany these discussions. Because students arrive in workshop courses with a variety of backgrounds, styles, and interests in poetry, discussions about lineage and the different schools of thought in poetry will be a vital element of the class. Some of this discussion will arise from the workshop of student poems.

323.002: Intermediate Creative Writing: Nonfiction

TR 1600-1715
Stephen Benz, sbenz@unm.edu 

This intermediate creative nonfiction course will introduce you to the many possibilities of creative nonfiction, including memoir and the personal essay, literary journalism, travel and nature writing, humorous writing, and graphic nonfiction. The writing you do for the class will be drawn from your past experiences and passions, your interests and observations. In the first half of the semester, you will read a number of published essays and do a variety of 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, 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 throughout the semester will concern elements of literary craft, naturally, but also the special kinds of responsibility that fall on writers of nonfiction. Our text will be a course reader including essays by authors such as Alison Bechdel, Lisa D. Chavez, Bernard Cooper, Joan Didion, Mark Doty, Brian Doyle, Atul Gawande, Philip Gourevitch, Maxine Hong Kingston, Jon Krakauer, Paisley Rekdal, David Sedaris, Richard Selzer, Brent Staples, Cheryl Strayed, Luis Alberto Urrea, and Alice Walker, David Foster Wallace, and Jessmyn Ward. Time permitting, we may also read a book-length memoir. If you wish to contact me about the class, my email address is clarkmp@unm.edu. I welcome suggestions for additions to the reading list.

324.003: Introduction to Screenwriting

T 1800-2100
Matthew McDuffie, mcduffie@unm.edu 

330.001: Introduction to the Qur'an

TR 0930-1045
Hafid Gafati

330.002: Women of the Bible

TR 1400-1515
Janet Gaines, jhgaines@unm.edu 

331.001: T: Introduction to China

MW 1400-1515
Xiang He, xhe@unm.edu 

334.001: Death & Afterlife

TR 1230-1345
Lorenzo F. Garcia, lfgarcia@unm.edu 

341.002: Introduction to Premodern Japanese Literature and Culture

MW 1400-1515
Lorna Brau, lbrau@unm.edu 

348.001: Medieval Evil

TR 0930-1045 
Jonathan Davis-Secord, jwds@unm.edu

Evil encapsulates the most fundamental p problems any culture faces, and the Middle Ages produced unique conceptions and depictions of evil that remain quiet assumptions in modern life. This class will explore the versions of evil expressed in medieval literature, art, and thought. We will read Beowulf and accounts of demons, explore medieval philosophy, examine illuminations in manuscripts, analyze the motivations behind the first crusade, unpack views of magic and witchcraft, immerse ourselves in Dante's Inferno, and end with the the fantastic paintings of Hieronymus Bosch.

351.001: Chaucer's Canterbury Tales

MWF 1000-1050 
Lisa Myers, myersl@unm.edu 

This course will focus upon The Canterbury Tales, the final work and masterpiece of Geoffrey Chaucer, one of the greatest writers in the English language. We will consider Chaucer within the historical context of the tumultuous fourteenth century, a time of plague and famine, political uprising and religious rebellion. Discrediting the myth of the Middle Ages as a time of repression and uniformity, this class will highlight issues of gender, class and race while examining the themes of equality, justice and exclusion. Primary texts will be read in Middle English, the language of Chaucer, with an emphasis upon accurate pronunciation, previous experience not required. In addition to familiarizing the student with the Middle English language, coursework and assignments are designe d to develop the student's knowledge of the conventions of medieval English poetry and to place the work of Chaucer within a historical and critical framework. 

352.010: Early Shakespeare

Online
Renee Faubion, sanren@unm.edu 

Come meet one of the greatest writers in all of literature! In addition to close study of the texts themselves, students will receive instruction in cultural trends influential to Shakespeare's work (regarding developments in economic classes and Renaissance notions of race, for example); in Elizabethan history and theatrical conventions; and in some of the most important sources for the plays. Readings will include seven or eight of the following, depending on the semester: Titus Andronicus; Romeo and Juliet; The Merchant of Venice; Midsummer Night's Dream; As You Like It; Julius Caesar; Much Ado about Nothing; Richard II; Richard III; Henry IV [parts I and II]; Hamlet; and Twelfth Night. Course requirements will include three papers, a variety of short assignments, and weekly participation in online discussion.

353.001: Later Shakespeare

TR 1230-1345
Yulia Ryzhik, yryzhik@unm.edu 

353.002: Later Shakespeare

TR 1400-1515
Lisa Myers, myersl@unm.edu 

360.001: Jane Austin: Once Is Not Enough

MW 1530-1545
Carolyn Woodward, woodward@unm.edu 

Not content to let Austen's achievements rest, novelists and film-makers have provided us with sequels and spin-offs too numerous to list. Through close reading of Austen novels followed by investigation into Austen-redux novels and films, we'll attempt to answer these questions: What do Austen novels tell us about the Georgian and Regency periods in England? What do these sequels and spinoffs tell us about our own cultural moment? What is it about an Austen novel that inspires film-makers and writers of fiction to believe that "Once is Not Enough"? Writing requirements: four 1-2 page discussion questions, four 5-7 page formal papers. Texts, print: Austen novels Pride & Prejudice, Emma, Mansfield Park, and Northanger Abbey. Emma Campbell Webster, Lost in Austen. Jo Baker, Longbourn. Cindy Jones, My Jane Austen Summer: A Season in Mansfield Park. Val McDermid, Northanger Abbey. Films to watch in class: "Bridget Jones's Diary," "Lost in Austen," "Clueless," "Aisha.".

365.001: Chicana/o Cultural Studies

TR 0930-1045 
Melina Vizcaino-Aléman, mviz@unm.edu

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 transnationalism. The class will chart the emergence of Chicana/o cultural production and the paradigmatic shifts in identity from 1848 forward, with attention to how contemporary Chicana/o identity is part of a larger history that encapsulates three eras: Spanish colonial, Mexican national, and the US Southwest. 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 Chicana/o film, art, and landscape architecture, as well as critical essays and key terms in cultural studies. Assignments include weekly quizzes, two exams, two critical reviews, and a final essay.

387.001: Literary Essays

MW 1400-1515 
Stephen Benz, sbenz@gmail.com

The essay is a particularly rich and versatile literary genre. Writers of different eras, nationalities, and languages have turned to the essay to meditate on just about any subject--good, evil, love, family, society, food, travel, nature, art, science, religion, and life itself. But what exactly is a literary essay? In ENGL 387 we will explore the essay as a genre--its history, its precursors, its conventions, and its practitioners. We'll learn about where the essay comes from, what it tries to do, and what forms it takes. We'll read widely in the genre--across time periods, cultures, languages, and topics. Some of the English-language essayists we'll study include Jonathan Swift, Mark Twain, Virginia Woolf, E.B. White, George Orwell, Joan Didion, and James Bal dwin. We'll also read Japanese, French, Spanish, and Russian essayists. By the end of the course, we'll hope to have a better understanding of what makes an essay an essay and why this versatile genre is so appealing to readers and writers.

388.001: Chicano Latino Film

W 1600-1830
A. Gabriel Melendez, gabriel@unm.edu 

410.001: Criticism and Theory

R 1600-1830 
Jesse Alemán, jman@unm.edu

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 at our analytical disposal. Most of the reading will co mprise of the primary theoretical texts--dense work that requires the time to read more than once, with dictionary in hand. We'll also use several short-story case studies, which will be available on e-reserve.

411.001: Chicana Feminism

TR 1400-1515
Bernadine Hernandez, berna18@me.com 

This class will chart Chicana feminism through its historical, theoretical, literary and artistic formation. We will first begin with a historical overview of Mexican American women in the U.S. and form a historical trajectory of "Chicana" from nineteenth and twentieth-century Caifornia, Tejana, and Hispana writers and examine how different histories (e.g. U.S. imperialism and settler colonialism) and positionalities (e.g. class) inform social, political, and cultural crisis. We will trace out the emergence of Chicana feminism and examine the genesis of the term "Chicana" as it was developed and deployed during the Chicano/a Movement in the early 1970's. Looking at early Chicana writers from Chicana Feminist Thought: The Basic Historical Writings, we will examine how Chicana's are critiquing social relations and structur es of power tied to labor, education, and migration. From this historical foundation, we will look at how Chicana writers and artists use multifaceted forms, genres, and techniques to express subjectivity and write in the social process of race, gender, sexuality, and class. We will be reading novels, short stories, essays and drama by Maria Helena Viramontes The Moths and Other Stories (1985), Sandra Cisneros Women Hollering Creek and Other Stories (1991), Gloria Anzaldúa Borderlands/La Frontera: The New Mestiza (1987), Cherrie Moraga Heroes and Saints (1994), Emma Perez Gulf Dreams (1996), Josefina López Real Women Have Curves (1996), and Ana Castillo Give It To Me (2014). We will also be looking at visual art by Alma López and Yolanda M. López, performance art by La Chica Boom, and films by Lourdes Portillo and Almudena Carracedo. Aside from the primary texts of Chicana writers, we will be reading general theory regarding gender and sexuality in feminism, poststructuralism, and postmodernism and be interrogating and examining these theories in relation to our primary novels and the intersectional theories from Chicana feminism and decolonial feminism. Requirements: active participation and attendance, reading responses, midterm, and final paper.

412.001: Honors Capstone: Cultural Economies of Authorship

TR 0930-1045
Julie Newmark, newmark@unm.edu 

418.001: Proposal & Grant Writing

MWF 1300-1350 
Kyle Fiore, kfiore@unm.edu

This course explores the fine art of raising money for non-profit organizations. You will analyse and/or write effective non-profit documents, including appeals letters, cover letters, brochures, annual reports, case statements and, most importantly, grant proposals. You will study existing non-profit documents and proposals to understand the rhetorical moves they make. You will also learn how to locate and evaluate requests for proposals to ensure the documents you write contains information necessary to persuade a client or funder that they should fund your project. Please note that this is a slash course offered with English 518. 

418.002: Proposal & Grant Writing

MWF 1000-1050 
Kyle Fiore, kfiore@unm.edu

This course explores the fine art of raising money for non-profit organizations. You will analyse and/or write effective non-profit documents, including appeals letters, cover letters, brochures, annual reports, case statements and, most importantly, grant proposals. You will study existing non-profit documents and proposals to understand the rhetorical moves they make. You will also learn how to locate and evaluate requests for proposals to ensure the documents you write contains information necessary to persuade a client or funder that they should fund your project. Please note that this is a slash course offered with English 518. 

419.001: Visual Rhetoric

MW 1600-1715
Deborah Paczynski, dpaczyns@unm.edu 

In Visual Rhetoric, we will examine visual rhetorical principles, come to understand and dissect visual information, and create our own visual representations of communication. This course will move through three areas: First, we will undertake a theoretical overview of visual rhetoric; second, we will examine strategies in creating printed visual rhetoric; and finally, we will plan and create texts for electronic/online texts. While this is not a course to take if you primarily want to learn web design or programs such as Adobe InDesign, there will be opportunities to learn and engage with these programs if you would like.

420.001: T: Writing with Class Tropes

TR 0800-0915 
Jerome Shea, jshea@unm.edu 

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, leaning 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.

420.004: T: Blue Mesa Review

TR 1400-1515 
Marisa Clark, clarkmp@unm.edu  

421.001: Advanced Fiction Workshop

MWF 1100-1150 
Michelle Brooks, mbrooksteaching@gmail.com

This class will focus on writing short stories and other forms of narrative. We will read contemporary writers, as well as presenting student work for discussion.

421.002: Advanced Fiction Workshop

TR 0930-1045
Daniel Mueller, dmueller@unm.edu 

422.004: Advanced Creative Writing Poetry

M 1600-1830
Lisa Chavez, ldchavez@unm.edu 

423.002: Advanced Creative Writing Nonfiction

MR 1230-1345 
Lisa Chavez, ldchavez@unm.edu

This is an advanced creative writing workshop in creative nonfiction. This class presupposes a certain understanding of the genre: ie. at least a basic understanding of the use scene and dialogue and reflection. Our goals in this course will be to hone craft skills, try out new techniques in exercises, and practice revision skills. While we will read the work of published authors and explore the variety of types of essays that fall into the category of creative nonfiction, we will primarily focus on workshopping student work.

424.001: Creative Writing Workshop - Script

R 1700-2000
Matthew McDuffie, mcduffie@unm.edu 

444.001: Practicum: Tutoring Writing

MWF 1400-1450 (This is a hybrid course, replacing some face-to-face meetings with online coursework.)
Erin Lebacqz, lebacqze@unm.edu  

English 444 provides theoretical and practical education about peer tutoring, assessing and evaluating texts, responding to student writing, and composition and writing center pedagogy. Students will gain hands-on experience tutoring students in online composition courses, a valuable benefit for students planning to attend graduate school, hoping to go on to careers in teaching, or seeking to improve their own writing skills. The prerequisites for the course are (1) completion of English 120, (2) completion of English 219 (or an upper-division professional writing English course), and (3) a GPA of at least 3.0. For registration information, contact Dee Dee Lopez in the English Department office. For questions about the class, contact Dr. Andrew Bourelle (abourelle@unm.edu).

447.001: Introduction to Old English

TR 1400-1515 
Jonathan Davis-Secord, jwds@unm.edu

Hwæt! 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 spend the first half of the semester learning the grammar of Old English while working through introductory readings in their original form. We will then move on to Beowulf and translate the first portion of the poem, covering Grendel's gruesome slaughtering of the Danes! We will supplement these translations by occasionally exploring current scholarly approaches to Old English literature. No prior knowledge of Old English required.

452.001: The Renaissance

TR 1100-1215
Yulia Ryzhik, yryzhik@unm.edu 

458.001: Modern British Literature

TR 1530-1645 
M. R. Hofer, mrh@unm.edu

This course in late modern British literature focuses exclusively on writers born in the United Kingdom who brought out major works of poetry, fiction, or hybrid genres between the late 1920s and the late 1960s. One definition of the "late modern" focuses on aesthetically conservative and politically quietist literature that registers skepticism with the formal innovations of early to high modernist experimentation. That is, of course, a reactionary definition-and we will be taking a different view. Our survey of late modernism in the UK will analyze and evaluate how the stylistic, cultural, and conceptual qualities that characterize modernism-which was a transatlantic and, to a lesser extent, continental transplant that thrived from 1913 through the mid-1920s-were continually adopted/adapted by British writers through the onset of postmodernism in the wake of the British Poetry Revival.

***Although this list is subject to revision, you may expect to read and discuss novels by Virginia Woolf, Mina Loy, Wyndham Lewis, and Christine Brooke-Rose, poems by Basil Bunting, Gael Turnbull, Charles Tomlinson, Roy Fisher, Tom Raworth, Veronica Forrest-Thompson, and J. H. Prynne, and work that resists standard categories by David Jones, Bob Cobbing, Tom Phillips, and B. S. Johnson.

463.001: Modern American Literature

TR 1100-1215
A. Marquez, amarquez@unm.edu 

Ranging from Naturalism to Existentialism, this course in American Literary History [1890-1940] covers major movements of modern American fiction and considers representative novels and their place in cultural-literary history. Required Texts: Norris, McTeague; Chopin, The Awakening; Wharton, Ethan Frome; Anderson, Winesburg, Ohio; Fitzgerald, The Great Gatsby; Hemingway, The Sun Also Rises; Faulkner, The Sound and The Fury; Hurston, Their Eyes Were Watching God; Steinbeck, The Grapes of Wrath; Wright, Native Son. [Eliot's The Wasteland and critical essays will be placed on eReserve.] Three Examinations: (1) 30% (2) 30% (3) 40%.

486.001: British Literature

MW 1100-1215
Belinda Deneen Wallace, bwallace@unm.edu 

Over the last 50 years, Black Britons represent the most rapidly growing demographic in Great Britain. The term "Black" in Britain denotes not only descendants of the African Diaspora, but also people of Asian and Middle-Eastern origins. Thus "blackness" represents a political position just as much as it is signals a "racial" identity. In this course, we will examine the literature of Black Brits of Caribbean heritage and the ways in which their literature may be seen as a critical response to histories of British colonialism and imperialism as they seek to articulate and claim their British blackness.

499.001: Internship

Arranged
Joseph Bartolotta, jbartolotta@unm.edu

Are you a Professional Writing Student currently in your Junior or Senior year, and want to put all that book-learning to good use in the world beyond the university? Do you want to get credit for it? Maybe even get paid? Then you should enroll in ENGL 499. our Internship course. In our Internship course, you will develop resumes, cover letters, work on your web presence, get tips for engaging the job search, build a professional portfolio, and generally prepare for the next steps you take as a professional writer once you graduate. Students are responsible to set up their own internships, however, several firms around town contact Dr. Bartolotta with opportunities, so please feel free to contact him for opportunities and "Like" the UNM Professional Writing Program on Facebook to keep track of our most recent internship announcements. Please join us this Fall for a great internship course!