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Spring 2014 Courses


100-level Courses

ENG 100 - Introduction to Academic Writing (4 credits)

Intensive introduction to critical writing and reading in academic contexts. Exploration of writing processes and academic literacy skills: interpreting assignments; comprehending, analyzing, and evaluating college-level texts;  inventing, drafting, and revising; seeking, providing, and responding to constructive feedback; collaborating effectively under varied learning models. Extensive writing practice and individualized coaching. Attention to grammar and conventions of standard written English. Intended as preparation for ENG 101. All sections meet in computer classrooms.

ENG 101 - Academic Writing and Research (4 credits)

Intensive instruction in academic writing and research. Basic principles of rhetoric and strategies for academic inquiry and argument. Instruction and practice in critical reading, including the generative and responsible use of print and electronic sources for academic research. Exploration of literate practices across a range of academic domains, laying the foundation for further writing development in college. Continued attention to grammar and conventions of standard written English. Most sections meet in computer classrooms.

For further information about the First-Year Writing Requirement, see

200-level Courses

ENG 201 - Writing Literary Analysis (3 credits)

Writing about literature for a variety of audiences. Strategies for writing close textual analysis - including attention to versification, narrative technique, and dramatic structure - and for articulating biographical, literary-historical, and cultural-historical contexts. Conventional genres of literary analysis, including "close readings," reviews, and editorial introductions; conventions of organization and prose style in both academic and professional literary discourse; MLA conventions for prose style and documentation.

ENG 207 - Studies in Poetry (3 credits)

Main features of poetry such as tone, voice, form, diction, figurative language, and sound patterns. Reading of poetry from different periods with the goal of learning how to understand, appreciate, and analyze different kinds of poems.

ENG 208 - Studies In Fiction (3 credits)

Representative examples of novels and short stories from different periods, emphasizing understanding and appreciation of fiction as a genre, a knowledge of the features and techniques of fiction, and a sense of the development of the genre.

ENG 209 - Introduction to Shakespeare (3 credits)

Shakespeare for non-English majors. Seven to ten major plays, including representative comedies, such as The Taming of the Shrew; histories, such as Richard III; tragedies, such as Hamlet; and romances, such as The Tempest.Does not satisfy requirements for English major.

ENG 210 - Introduction to Language and Linguistics (3 credits)

Linguistics theory and method. Topics include the English sound system, morphology, syntactic structure, semantics, and historical and contemporary dialect variation. Language acquisition, language and the brain, and computer processing and human language.

ENG 214 - Introduction to Editing (3 credits)

Basic editorial skills with a wide range of publications. Stylistic editing (conventions of written English, consistency, effectiveness of syntax, appropriateness of diction), substantive editing (accuracy, legal issues, ethics), and production editing (layout, typography, electronic publication processing). Introduction to resources such as standard reference works and professional organizations.

ENG 219 - Studies in Great Works of Non-Western Literat (3 credits)

Readings, in English translation, or non-Western literary masterpieces from the beginnings of literacy in the Middle East, Asia, and Africa to the modern period, including excerpts from texts such as the Upanishads, the Ramayana, the Sundiata, Gilgamesh, A Thousand and One Nights, and the Quran and such authors as Confucius, Oe Kenzaburo, Omar Khayyam, Rumi, and Amos Oz.

ENG 220 - Studies in Great Works of Western Literature (3 credits)

Readings, in English translation, of Western literary masterpieces, from the beginnings of literacy in the Middle East and Europe towards the present, including such authors as Homer, Sophocles, Virgil, Ovid, Augustine, Danta, Machiavelli, Shakespeare, Cervantes, Moliere, Voltaire, Goethe, Austen, Flaubert, Dickinson, Tolstoy, Kafka, and Woolf.Credit will not be given for both ENG/FL 220 and either ENG/FL 221 or ENG/FL 222.

ENG 221 - Literature of the Western World I (3 credits)

Readings from English translations of Biblical, Classical, Medieval, and Early Renaissance literature, including works by such authors as Homer, Plato, Virgil, Ovid, St. Paul, St. Augustine, Marie de France, and Dante.

ENG 222 - Literature of the Western World II (3 credits)

Readings from English translations of Renaissance, Neo-Classical, Romantic, and Early Modern literature, emphasizing the cultures of continental Europe from the Renaissance to 1900, and including such authors as Petrarch, Erasmus, Rabelais, Machiavelli, Shakespeare, Moliere, Voltaire, Rousseau, Goethe, Flaubert, and Tolstoy.

ENG 223 - Contemporary World Literature I (3 credits)

Twentieth-century literature of some of the following cultures: Russian, Eastern European, Western European, Latin American, Canadian, Australian.

ENG 224 - Contemporary World Literature II (3 credits)

Twentieth-century literature of some of the following cultures: Asian, Arabian, African, Caribbean, Native-American.

ENG 232 - Literature and Medicine (3 credits)

Study of literature about illness, epidemics, and the science and practice of medicine. Readings will include works by authors such as Boccaccio, Defoe, George Eliot, Kafka, William Carlos Williams, Susan Sontag, and Tony Kushner.

ENG 246 - Literature of the Holocaust (3 credits)

Fictional and nonfictional versions of the Holocaust, focusing on themes of survival, justice, theology, and the limits of human endurance.

ENG 248 - Survey of African-American Literature (3 credits)

African-American writing and its relationships to American culture and history. Covers such writers as Wheatley, Douglass, Chesnutt, Dunbar, DuBois, Hughes, Hurston, Wright, and Morrison.

ENG 249 - Native American Literature (3 credits)

A survey of Native American literatures from before contact with Europeans to contemporary culture. Writers may include: Apess (Pequot), Ridge (Cherokee), Silko (Laguna Pueblo), Momaday (Kiowa), Power (Sioux) Gunn Allen (Laguna-Sioux), Harjo (Creek), and Erdrich (Anishinaabe).

ENG 251 - Major British Writers (3 credits)

Brian Blackley

Significant British authors chosen from among such figures as Chaucer, Shakespeare, Milton, Swift, Pope, Austen, Wordsworth, Coleridge, Tennyson, Browning, Bronte, Dickens, Joyce, Eliot, Woolf, and Yeats.Credit will not be given for both ENG 251 andeither ENG 261 or 262.

Paul CAmm Fyfe

This course surveys representative texts and historical periods for major British writers using the theme of "encounters." We will read fiction and a few poems concerned with frontiers—including of geography, nation, race, consciousness, and history—as they shape or unsettle the very categories of Britishness and imaginative writing. Enrolling students should be committed to substantial and sustained reading. Authors include Defoe, Brontë, Conrad, Woolf, Heaney, and Mitchell.

ENG 252 - Major American Writers (3 credits)

Significant American authors chosen from among such figures as Franklin, Emerson, Thoreau, Hawthorne, Melville, Douglass, Stowe, Whitman, Dickinson, Twain, James, Frost, Faulkner, Hemingway, and Morrison.Credit will not be given for both ENG 252 and either ENG 265 or 266.

ENG 260 - Introduction to Literary Study (3 credits)

Introduces fundamental questions in literary history and critical theory. Emphasizes critical reading skills and prepares students for the kinds of courses--surveys, genre courses, author courses, problem-based courses--that are part of the Englishmajor. Papers prepared using standard word processing programs.

ENG 261 - English Literature I (3 credits)

A survey of English literature to 1660, including Old English, Middle English, and Renaissance writing, focusing on such central authors as Chaucer, Spenser, Marlowe, Shakespeare, Jonson, Donne, and Milton. Credit will not be given for both ENG 261 and ENG 251.

ENG 262 - English Literature II (3 credits)

A survey of English literature from 1660 to the present. Poetry, fiction, drama and intellectual prose by such central writers as Dryden, Pope, Swift, Johnson, Wollstonecraft, Wordsworth, Keats, Shelley, Bronte, Carlyle, Tennyson, Browning, Yeats, Woolf, Joyce and Eliot. Credit will not be given for both ENG 262 and ENG 251.

ENG 265 - American Literature I (3 credits)

A survey of American literature from the beginnings to the Civil War, including such central authors as Edwards, Franklin, Irving, Emerson, Hawthorne, Melville, Poe, Stowe, Douglass, Thoreau, and Whitman. Credit will not be given for both ENG 265 and ENG 252.

ENG 266 - American Literature II (3 credits)

A survey of American literature from the Civil War to the present, including such central authors as Whitman, Dickinson, Twain, James, Crane, Wharton, Frost, Eliot, Hemingway, Hurston, Faulkner, Wright, O'Connor, and Morrison. Credit will not be given for both ENG 266 and ENG 252.

ENG 267 - LGBTQI Literature in the U.S. (3 credits)

Howard Gene Melton II

Chronological survey of works of literature by and about gay, lesbian, bisexual, transgender, questioning, and intersex communities in the U.S. Primary texts will be considered in historical, political, and literary contexts. Brief consideration of early works from colonial period and 19th century with primary focus on 20th and 21st century texts.

ENG 282 - Introduction to Film (3 credits)

Examination of basic film techniques and basic methods of film analysis. Emphasis on understanding and appreciating film as a major art form.

ENG 287 - Explorations in Creative Writing (3 credits)

Introduction to the basic elements and principles of three genres of creative writing: poetry, fiction and drama. Reading and class discussion of student work. Recommended for students with no prior experience in creative writing.

ENG 288 - Fiction Writing (3 credits)

Experience in writing short prose fiction. Class critiquing of student work and instruction in techniques of fiction.

ENG 289 - Poetry Writing (3 credits)

Experience in writing poetry. Class critiquing of student work and instruction in techniques of poetry.

ENG 292 - Writing About Film (3 credits)

Comprehensive study of various approaches to writing about film. Primary focus is on the critical and evaluative practice involved in writing film criticism for non-academic audiences. Film screenings, discussion of assigned readings, and in-classwriting workshops aid students in preparing a portfolio of film writing that includes film reviews of various lengths.

ENG 298 - Special Projects in English (1-3 credits)

Sharon M. Setzer

Faculty-guided independent study, or courses on special topics determined by departmental interest or need.

Karen M Stapleton

Latina/o Literature in the U.S.

An introduction to Latina/o literature with an exploration of multiple genres. This course will examine representative Latina/o texts by authors with backgrounds from Puerto Rico, Mexico, Cuba and the Dominican Republic but who write in English in the United States. Students will consider Latina/o literature and some key categories of cultural identity as shaped by the intersecting and competing claims of ethnicity, gender, race, sexuality, and religion. The literature will be accompanied by critical readings from Latina/o studies that raise questions such as: What does it mean to be “American”?; What is at stake in various representations of Latina/os?; Does Latina/o literature contribute to the “American“ literary canon?

Evaluation will be based on class participation, several short response essays, a longer research-based essay, and a final exam.


300-level Courses

ENG 305 - Women and Literature (3 credits)

Deborah A. Hooker PhD

Dr. Deborah Hooker (section 002)

In her 2009 work, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx, Elaine Showalter proposes that the female tradition of literature in the U.S. has been shaped by 3 primary factors:

  • women's relationship to the literary marketplace and other gate-keeping institutions like schools and libraries that identify and promote "worthwhile" writing
  • literary influences (what women read and the models they emulated)
  • pressures on women to lead private rather than public lives, to conform to cultural norms and expectations about femininity
We will explore and challenge Showalter's thesis through our examination of poems and autobiographical writings by 17th and 18th century women  as well as novels, short stories, poems (and a play) by more contemporary authors such as Toni Morrison, Alice Walker, Louise Erdrich, Louise CLifton, Jamaica Kinkaid, and Jane Martin.  These readings will be augmented by fairy tales and myths, recent and enduring essays from feminist and cultural studies, and when appropriate, by writing from women residing ouside the territorial boundaries of the U.S.
As part of our testing of Showalter's proposal, ENG/WGS 305 will highlight the ways in which socioeconomic class and racial identity intertwine with gender to produce differing representations of female experience. Although we will focus primarily on female representations, masculinity as it is represented and contested in various texts will also be explored. 

Course requirements include guided reading journals, Moodle posts, one shorter literary analysis, a longer final project, a mid-term and final exam.  

This course fulfills the GEP Literature and the US Diversity requirements.
Prerequistie:  Sophomore standing 

Leila S May

In this course, we will approach a number of overlapping issues and concerns affecting women through a broad spectrum of nineteenth- and twentieth-century works by female writers.  We will engage in a number of simultaneous activities: looking at the ways in which various women writers of diverse ethnicities have rejected traditional narratives, such as the courtship plot and kitchen concerns, creating alternative stories based on other types of relationships and other interests; examining the ways in which "madness" gets represented in a society that marginalizes both fantasy and "the feminine,and apotheosizes reason; studying fictions of female development (the female Bildungsroman), and speculating on the differences between female and male "Bildung”; interrogating traditional notions of gender differences; discussing the meaning of the establishment of a tradition of "women's writing":  how, for example, do women writers build upon—or challenge—the works of their literary "mothers"?  Authors will include Charlotte Brontë, Sandra Cisneros, Louise Erdrich, Zora Neale Hurston, Barbara Kingsolver, Maxine Hong Kingston, Toni Morrison, Alice Munro, Jean Rhys, and Leslie Marmon Silko.

ENG 316 - Principles of News and Article Writing (3 credits)

Robert C. Kochersberger

ENG 316 is the basic course in news reporting and writing. Eng 316, more than anything, teaches one how to think like a journalist. It covers the basic genres of reporting: obituaries, profiles, crime and car wreck stories, interviewing, speech and meeting stories, etc.

The course is roughly divided into three sections: reporting and writing basics, public affairs reporting and feature writing. Students write a lot--weekly assignments, plus a substantial semester reporting/writing project. Knowledge of AP style is essential.

Dick J Reavis

This is the basic course in newswriting. It helps if the student has already taken Eng 214, Principles of Editing, because that's the course in which correct written expression is taught; he or she who can't write, can't report.

Eng 316, more than anything, teaches one how to think like a journalist. It covers the basic genres of reporting: obituaries, profiles, crime and car wreck stories, interviewing, speech and meeting stories, etc.

It is a writing and reporting course.

ENG 317 - Designing Web Communication (3 credits)

Keon Pettiway
Prerequisite: ENG 214, or ENG 216, or ENG 314
A course in the layout, design, and composition of web-based communication. Students will learn to analyze audiences and their uses of information in order to plan, compose, and critically evaluate web-based communication. Students will acquire skill with HTML coding, screen design, and multimedia authoring and will apply those skills to the composition of a variety of web texts (i.e. websites). Course work will require students to become proficient with commercially available HTML and photoeditors.

ENG 321 - Survey of Rhetorical Theory (3 credits)

ENG 323 - Writing in the Rhetorical Tradition (3 credits)

David M Rieder PhD
Prerequisite: ENG 101
A writing course based on the study of rhetoric. Readings on the principles of invention, arrangement, and style; analysis of written texts; writing of persuasive texts for a variety of audiences and purposes.

ENG 324 - Modern English Syntax (3 credits)

Prerequisite: ENG 101

Study of Modern English at the sentence level. Analysis of grammatical structure. Consideration of language variation in English.

ENG 325 - Spoken and Written Traditions of American Eng (3 credits)

Caroline Marie Myrick
Prerequisite: ENG 101
Basic issues in the study of language; linguistic terminology and categories; grammatical traditions and topics such as prescriptivism and descriptivism, standard and non-standard, orality and literacy; language acquisition and awareness; language aesthetics and ethics.

ENG 326 - History of the English Language (3 credits)

Prerequisite: ENG 101

Development of the English language from its Indo-European origins to the present. Emphasis on historical and comparative linguistic methodology and on changes in sound, syntax, and meaning.

ENG 330 - Screenwriting (3 credits)

Prerequisite: two film and/or creative writing courses (6 hours total)

In this writing workshop, students will develop skills in narrative structure, screenplay

format, and story elements (character, dialogue, scene construction). In the first portion of

the course, we focus on structure, character and dialogue. The remainder of the course is

devoted to the writing and critique of full-length original screenplays.

ENG 331 - Communication for Engineering and Technology (3 credits)


Preq: Junior standing

This course is aimed primarily at students in engineering and other technological fields. Students may take only ONE of the following courses: ENG 331, ENG 332 or ENG 333. In this course, students become familiar with written communication in industrial and technical organizations. Students are encouraged to adapt writing assignments to their own work experience, professional goals, and major fields of study. Instruction covers all phases of the writing process (planning, drafting, revising, and critiquing other people's work). Emphasis is placed on organizing for the needs of technical and management readers; concise, clear expression; and the use of visual aids. Typical assignments include job application letters and resumes, progress reports, proposals, technical instructions, and at least one oral presentation.

ENG 332 - Communication for Business and Management (3 credits)


Preq: Junior standing

This course (formerly ENG 221) is aimed primarily at students in business-, administration-, and management-related fields. Students may take only ONE of the following courses: ENG 331, ENG 332 or ENG 333. This course introduces students to the more important forms of writing used in business and public organizations. Students are encouraged to adapt writing assignments to their own work experience, professional goals, and major fields of study. Instruction covers all phases of the writing process (planning, drafting, revising, and critiquing other people's work). Emphasis is placed on organizing for the needs of a variety of readers; concise, clear expression; and the use of visual aids. Students practice writing tasks dealing with the routine problems and details common in a work environment and more specialized writing such as problem analyses and sales and administrative proposals. Each student also gives one or two oral presentations related to the written work.

ENG 333 - Communication for Science and Research (3 credits)


Preq: Junior standing

This course is aimed primarily at students who plan careers in scientific research. Students may take only ONE of the following courses: ENG 331, ENG 332, or 333. This course introduces students to the more important forms of writing used in scientific and research environments. The course explores the relationship between research and writing in problem formulation, interpretation of results, and support and acceptance of research. Students are encouraged to adapt writing assignments to their own work experience, professional goals, and major fields of study. Instruction covers all phases of the writing process (planning, drafting, revising, and critiquing other people's work). Emphasis is placed on organizing for the needs of a variety of readers; concise, clear expression; and the use of visual aids. Typical assignments include proposals, journal articles, and at least one oral presentation.

ENG 350 - Professional Internships (3 credits)

Robert S Dicks

Directed work experience for CHASS majors including work-site mentoring and evaluation.  Department supervision includes course work directed toward designing employment application materials, developing a portfolio of professional work or relevant research paper, considering a variety of career options, and reading literature on workplace socialization. Students must provide their own transportation to the internship site. Modest liability insurance fee required.

Contact Professor Susan Katz, Internship Coordinator, for more information.

ENG 362 - The British Novel of the 18th Century (3 credits)

James Stephen Mulholland
Prerequisite: Sophomore standing and above
Emphasizes major novelists such as Defoe, Richardson, Fielding, Sterne, and Austen.

ENG 374 - History of Film From 1940 (3 credits)

Technological developments and aesthetic movements that have shaped cinema production and direction from 1940 to the present. Evolution in camera movement, editing, sound, storyline, and the documentary. Post-war decline and re-emergence of the Hollywood film industry and the contributions of foreign filmmakers.

Sophomores, juniors, and seniors only.

ENG 376 - Science Fiction (3 credits)

John J. Kessel

This course is an historical and thematic survey of science fiction from its beginnings in the post-industrial revolution gothic romance, through its identification as a separate genre in the pulps of the early 20th century, to its practice by writers in and out of genre today. The course will concentrate on American science fiction, with consideration of significant developments in England and elsewhere. We will examine sf as a reflection of developing attitudes toward science and technology, as an expression of the "Two Cultures" debate, as a vehicle for social criticism and satire, as a metaphor used to examine character. Texts will be studied for their relation to literary movements of the nineteenth and twentieth centuries and the rise of popular fiction.

There will be two 3-5 page  out-of-class papers on readings in the first month of the semester, a midterm, a term paper of 10 pages due in April and a final examination.


ENG 378 - Women & Film (3 credits)

Marsha Gabrielle Gordon PhD

ENG 378: Women and Film (T/Th 12:25-2:15)

Spring 2014

Dr. Marsha Gordon

This course will cover the rich history of women’s participation in the motion picture industry.  Focusing on female directors, we will study the ways women have gone about the art and business of filmmaking both within the context of well-established national studio systems as well as independently.  We will analyze films directed by women in a number of countries (including the U.S., France, Czechoslovakia, Italy, India, and Iran), from cinema’s earliest decades through the present day.  In addition to considering the aesthetic and formal elements of women’s films, we will discuss the range of social issues at play within them.  We will also study one major American star from Hollywood’s golden age to discover the way that women were imagined both on screen and off.  Students will read film criticism written by women throughout film history and engage critically with contemporary essays about film history and feminism.  Course requirements include weekly screenings and readings, regular class participation, a group presentation, two papers, and a cumulative final examination.

ENG 381 - Creative Nonfiction Writing Workshop (3 credits)

Catherine A Warren

ENG 381 Creative Nonfiction 3 credits

Cat Warren

In this class, students learn to work with a genre that marries storytelling and journalism. One writer described creative nonfiction as “true stories, well told.” It is a broad genre that includes New Journalism, Literary Journalism, and Narrative Nonfiction. It includes personal essays, features, profiles, and memoir. Students will read exemplary works from Joan Didion, David Sedaris, Susan Orleans, John Edgar Wideman, Rebecca Skloot, Annie Dillard, and John McPhee, among others. Students will also consider some of the ethics of creative nonfiction by studying the controversy around James Frey’s memoir, A Million Little Pieces, and Jonah Lehrer’s resignation from the New Yorker magazine. The majority of students’ time will be spent learning the tools and techniques of immersion reporting and research and creating their own works of creative nonfiction. The class will run as a workshop, with outside readings.

ENG 384 - Introduction to Film Theory (3 credits)

Ora Gelley

This course is an introduction to major developments in film theory and criticism.  We will historically and critically survey some of the major texts in classical and contemporary film theory.  We will begin with first principles, asking "what is film and what is theory?"  We will then move on to explore film theories that raise the question of cinematic specificity - "what makes film different from other forms of art and expression?"  Then we will turn our attention to various interconnected areas of film theory, from film language to film narrative, spectatorship, stardom, feminism, authorship, genre, documentary, and technology.  Along the way, we will watch many great movies. 

Primary readings will be talen from a broad interdisciplinary tradition of film and visual theory, and film screenings will feature mainstream narrative, documentary, experimental, avant-garde, and international traditions.  The course will be run in a seminar format in order to maximize an intensive dialogue with these primary readings and screenings.  Class participation and reading responses are required.  


ENG 388 - Intermediate Fiction Writing Workshop (3 credits)

Robert J Bateman
An intermediate workshop in creative writing for students with demonstrated understanding of the basic techniques of writing prose fiction.

ENG 392 - Major World Author (3 credits)

Nicholas Halpern

In this class we will engage in an in-depth discussion of Marcel Proust's In Search of Lost Time. Widely considered the greatest novel of the twentieth century, Proust's work explores themes of childhood, romantic love, sexual passion, class tensions, political battles, voluntary and involuntary memory, and the making of art. There will be three five-to-seven page papers and a final exam.

ENG 394 - Studies in World Literature (3 credits)

Nilakshi Phukan
Prerequisite: Sophomore standing and above
Study of a subject in world literature: for example, African literature, Asian literature, Hispanic literature, East European literature, Comedy, the Epic, the Lyric, Autobiography, the Faust legend, or Metamorphosis. Subjects vary according to availability of faculty. Readings in English translation.

ENG 395 - Studies in Rhetoric and Digital Media (3 credits)

Brent Simoneaux

Media, Literacy, and Sexuality

In this course, we will investigate the relationships between media, literacy, and sexuality. Although this course takes media as its focus, it does not centralize media. Rather, it de-centers media, shifting the focus toward deep contextualization within everyday literacy and sexual practices. Specifically, we will engage inquiry questions such as the following:

  • How is media re/appropriated within communities to tell stories about sexuality? 
  • How is media used to resist or affirm sexual and gender categories? 
  • How are literacy practices negotiated as individuals/communities act with and through media? 

As means of engagement, we will analyze several local case studies, conduct oral histories of the present, create community maps, perform cultural and historical analyses of media artifacts and practices, and, finally, create participatory media projects of our own.

This course is open to students of all sexualities, genders, and identities. A safe space for discussion and reflection will be maintained throughout the course.  

400-level Courses

ENG 405 - Literature for Adolescents (3 credits)

Barbara A Bennett

 This course covers the history, types, and characteristics of literature for adolescents, and emphasizes reading and analyzing the literature by exploring the themes, literary elements, challenges, and rationale for young adult literature. It addresses the ways in which this literature can be integrated and implemented in an English curriculum. Although the course is primarily designed for future and current high school English teachers, it can also be valuable for those working with adolescents in any capacity or for enhancing one's understanding of young adult literature past and present.

ENG 407 - Postmodernism (3 credits)

Larysa Anna Mykyta
Prerequisite: Sophomore standing and above
Literary expressions of Postmodernism, from its origins in the Modernist movement through its culmination in the later decades of the twentieth century. Definitions of post modernity, as embodied in a variety of genres. Placement of Postmodernist texts within a variety of cultures that have produced them.

ENG 416 - Advanced News and Article Writing (3 credits)

Dick J Reavis

Advanced News and Article Writing, begins with the rudiments of
reporting and writing learned in ENG 316 (formerly ENG 215) and carries them
to a higher level. The course will be organized on a beat structure, with
two students covering one area of news, either on or off campus. Some
stories will be written as a team, others individually. We will pay special
attention to the quality of the writing and the completeness of content.
Thorough knowledge of current events will be expected, as will substantial

ENG 417 - Editorial and Opinion Writing (3 credits)

Paul Cockshutt

This course focuses on the expression of opinion in daily newspapers and other media. The course covers editorials (the newspaper's corporate opinion), columns (both personal and issue-oriented) and reviews (of books, film, food, etc.) There is copious writing in the course, much discussion, guest speakers and field trips. I assume students have mastered the basics of newswriting. Prerequisite is ENG 215 or permission of instructor.

ENG 420 - Major American Author (3 credits)

Marc K. Dudley
Prerequisite: Sophomore standing and above

“Ernest Hemingway, Writer: Lost and Found”

This course will expose students to a myriad of texts, both short and long, by one of America’s most renowned  and influential modern writers. Ernest Hemingway contemplated and wrangled with ideas relating to selfhood and individual identity his entire literary career, from his relatively humble beginnings to his final years enmeshed in and, some would argue, eclipsed by his celebrity. The texts for this course will explore this life-long exercise on the part of an artist in-the-making.  More specifically, we will attempt to show how these texts in turn define a world as Hemingway saw it, thought it, and/or hoped it to be. Sometimes that self-discovery necessarily invests itself in definitions of a national nature, sometimes the lens is gendered, and sometimes the lines of demarcation are racial; but every time, the exploration is an exercise in self-discovery for both the author and by extension, the reader.

ENG 425 - Analysis of Scientific and Technical Writing (3 credits)

Huiling Ding

This course examines the role of communication in the development and exchange of scientific and technical knowledge. We will first investigate how scientific writing developed as a genre from the seventeenth century to the early twentieth century. Then we will read introductory works on rhetorical theory and examine the purposes, issues, audiences, and conventions of written communication in a variety of scientific and engineering contexts. After exploring the values and purposes that shape scientific arguments, we will use these rhetorical principles and scientific values as critical frameworks for analyzing the role of communication in science and technology. Students will work on individual and team projects that involve analysis and production of scientific and technical writing.

ENG 426 - Analyzing Style (3 credits)

David M Rieder PhD

Introduction to the analysis of style in print-based texts, hypertexts, and visual culture. The semester will be divided among three analytical approaches. First, we begin with Richard Lanham's textbook, Analyzing Prose, which introduces you to the important roles that style plays in prose writing. This first section will offer you a grounding in the rhetorical canon of style. Next, we'll study the changing role of style in the electronic form of hypertext writing. We'll focus our attention on Shelley Jackson's hypertext novel, Patchwork Girl. Finally, we'll look up and off the page/screen to analyze (postmodern) American culture, which is heavily influenced by communicational issues related to style.

In addition to two 6-7 page essays (and other shorter writing assignments), you will learn how to write a hypertextual essay in StorySpace, the same software program that Jackson used to write her hypertext novel.

ENG 439 - 17th-Century English Literature (3 credits)

Brian Blackley

A time of political and religious unrest in England, this period produced some of the greatest poetry in our language. We will examine the Metaphysical School of Donne against the Cavalier poetry of the Tribe of Ben (Jonson), culminating with the short verse of Milton. Two essays, two tests, and reading quizzes.


ENG 448 - African-American Literature (3 credits)

John Christopher Charles Williamson
Prerequisite: Junior standing.
Survey of African-American literature and its relationships to American culture, with an emphasis on fiction and poetry since 1945. Writers such as Bontemps, Morrison, Huston, Baldwin, Hayden, Brooks, Naylor, Harper, and Dove.

ENG 451 - Chaucer (3 credits)

Matthew Evan Davis

This course is an advanced interaction with the works of Geoffrey Chaucer, one of the most sophisticated, entertaining, and influential authors in the English language.  Additionally, it provides context for the works of Chaucer by looking at his contemporaries and those who came after him. Students who take this course will gain familiarity with the extent, aesthetics, and philosophical orientations of the writings of Chaucer both alone and in comparison with his contemporaries and followers. Furthermore, students will learn some of the ways that his works have been, and currently are, talked about by professionals in the field.

ENG 460 - Major British Author (3 credits)

Sharon Lynne Joffe

In our course, we will study the works of Mary Shelley, the author of Frankenstein, and her mother, Mary Wollstonecraft.  Even though Wollstonecraft died eleven days after giving birth to Shelley, Wollstonecraft profoundly influenced her daughter's oeuvre, an idea we will explore in our course.  We will read the novels and letters of both mother and daughter and we will analyze Wollstonecraft's philosophical works.  We will also study the historical time period in which these women lived and the exciting cast of characters with whom they interacted. 

 Assignments include two papers and a final exam.

ENG 471 - American Literature, Since 1945 (3 credits)

Jon F Thompson

Freedom has been a perennial American obsession for centuries. But in the post World War II period, a period of unprecedented social and cultural transformation in American history, this interest in freedom became renewed and redefined in radically new ways. Individual freedom developed as a key part of postwar American culture, and much of the literature is preoccupied with the question of how to realize a free self in a society straightjacketed by conformity. (Ginsberg is a key example here). Connected to this quest for individual freedom, then, is an interest in addressing social unfreedom, or the extent to which society needs to be reformed in order to allow for individual freedom, and not a small part of American literature dedicated itself—dedicates itself still—to addressing failures that inhibit the realization of individual and social freedom: racism, sexism, class, materialism, and the lure of violence and war. Some American writers define freedom as “freedom from this or that” while others, as we shall see, define freedom as “freedom to do or be this or that.” Still others define freedom in more artistic terms, and explore it in terms of creating (and meditating on creating) novels and poetry that redefine what literature is. Yet, as we shall see, even these most resolutely aesthetic texts interest themselves in evaluating the society they come from. Writers we will read will include Allen Ginsberg, James Baldwin, George Oppen, Don DeLillo, David Mamet, Cormac McCarthy, CD Wright, Franz Wright, Yusef Komunyakaa, Denis Johnson and Joseph Massey. Formal requirements will include a willingness to participate in class discussions, two out-of-class criticial essays, a midterm exam and a final exam.


ENG 487 - Shakespeare, The Later Plays (3 credits)

Christopher James Crosbie

Shakespeare’s career writing for the professional London theater spans from roughly 1590 to 1612.  In 1603, near the midpoint of this eventful writing life, Elizabeth I dies and James I ascends to the English throne.  In only a short time, James, a great patron of the theater, decides to take Shakespeare’s acting company (at that time known as the Lord Chamberlain’s Men) and make them his own.  The King’s Men become one of the two principal acting companies, and Shakespeare – having grown in popularity from his earliest plays to now – seems at the height of his profession, writing some of his most impressive plays.   This course will examine some of the most prominent plays from this period of Shakespeare's life, with special attention to his tragedies and his late comedies, frequently identified as "romances."  Assignments will include two exams, periodic quizzes, lively discussion, and a final term paper.

ENG 488 - Advanced Fiction Writing Workshop (3 credits)

ENG 489 - Advanced Poetry Writing Workshop (3 credits)

Dorianne Louise Laux

This critique workshop will give special attention to creating new work through exercises gleaned from model poems. Submitted work will be discussed with an eye toward various modes of revision. The course continues to explore the themes, techniques and elements of poetry writing. We will read single collections of contemporary poems by a number of recommended authors. Students will choose one poem from among the course offerings for memorization and recitation and will create a handmade broadside. Interviews, essays, audio and video recordings and biographical works will be reviewed. The class may also enjoy a visit from a guest poet and participate in a class poetry reading. The course stresses reading as a writer and provides a foundation from which students can pursue further studies in poetry writing.

ENG 491 - Honors in English (3 credits)

Rebecca Ann Walsh
Requisite: English Majors Only

Literature and Geography: Modern Identity and Spatiality 

In recent years, literary study has undergone what many have called a “spatial turn,” in which attention that had been given to history and to change over time has given way to increased attention to the role of space and location.  Space and place are now seen as key mechanisms through which personal identity (gender, sexuality, race, class), culture, and nation take shape and through which power circulates.  Some cultural geographers have gone so far to claim that it is space more so than time that structures the ways that power and ideology operate in shaping our lives, and that the seeming “innocence” of spatial location hides these effects from easy view.  This course will trace the historical circumstances that have helped to give rise to the “spatial turn,” introduce students to some of the key theories of spatial analysis, and examine a variety of late nineteenth- and twentieth-century literary and visual texts in which issues like gender, class, sexuality, race, and national identity can be approached through constructions of place and ideas of spatial belonging.   

 Spatial analysis is to varying degrees interdisciplinary, given literary studies' borrowing from the work of cultural geography. Part of our work of the course will be to chart the intersections between literary studies and cultural geography, which extend to the end of the nineteeth century and early decades of the twentieth. During this period environmental determinism reigned supreme—the idea  that the land controls and influences human culture and not the other way around. In this way we will consider the broader and deeper context for contemporary considerations of space.

While we will investigate the usefulness of spatial thinking,  we will also be asking questions about its potential challenges.  Exactly where do the metaphors of space end, and material concerns begin? Are there certain kinds of space that are more difficult to label than others?  And how might this affect our understanding of identity?  How much does spatial analysis privilege vision as a sense, and mapping what is visible as a practice? And how does one prioritize spatiality without slighting the effects of history?

Readings will draw from the work of cultural geography (contemporary figures such as Edward Soja, David Harvey, Doreen Massey, Neil Smith, Cindi Katz and historical figures such as Halford Mackinder, Ellsworth Huntington, and Ellen Churchill Semple), historical geography (Felix Driver, Innes Keighren), cultural studies research (Michel Foucault, Michel de Certeau), and literary criticism and theory. Literary selections will include a range of fiction and poetry by figures such as Edgar Allen Poe, Sarah Orne Jewett, E. M. Forster, Gertrude Stein,  Langston Hughes, Frank O'Hara, Elizabeth Bishop, Adrienne Rich, June Jordan,  and Patience Agbabi, among others. We may also consider a few visual texts (painting, photography, and film).  This course satisfies the American Literature requirements in the core.  It also fulfills the following requirements: World Literature (all curricula); 20th-21st Century, English Elective, Literature (LCW); Lit elevtive (CW); English Elective (LFM, LWR); 20th/21st Century (LLT), Capstone (LLT), Theory (LLT).




ENG 492 - Special Topics in Film Styles and Genres (3 credits)

Ora Gelley
This course will look at a broad selection of European films from the last twenty years as a means of gaining insight into the notion of a “New Europe,” led by a coalition of nations such as Germany, France, and Britain. We will focus in particular  on questions concerning the politics of representation and narration in film (i.e., how do films represent history and memory, racial, national, cultural, or gender identity, and what are the political implications of those representations?). Filmmakers such as Jean-Pierre and Luc Dardenne, Mathieu Kassovitz, Lars Von Trier, Catherine Breillat, Abdellatif Kechiche, Jean-Pierre Jeunet, Krzysztof Kieslowski, Cristian Mungiu, Corneliu Porumboiu, and Fatih Akin will be considered  in relation to specific national and trans-European responses to globalization, immigration, ethnic and religious integration, gender equality, and social justice issues.

ENG 498 - Special Topics in English (1-6 credits)

Sharon M. Setzer
Prerequisite: Six hours in ENG above the 100 level
Directed individual study or experimental course offerings in language or literature. Individual study arranged through consultation with faculty member and Director of Undergraduate Studies.

500-level Courses

ENG 507 - Writing for Health and Environmental Sciences (3 credits)

ENG 511 - Theory and Research In Composition (3 credits)

Casie J Fedukovich

Casie Fedukovich

English 511 provides a broad survey of the histories and philosophies of composition studies and composition research. This seminar is a prerequisite for students who wish to teach composition at North Carolina State University. English 511 will help students become familiar with the theories and voices which frame composition studies; understand the development of composition as a research site; become acquainted with the major resources in the field, in order to conduct independent exploration; assemble professional-level materials and apply reading knowledge so as to join disciplinary discussions; and develop frames for the evaluation of sound, ethical research in writing studies.


ENG 516 - Rhetorical Criticism: Theory and Practice (3 credits)

ENG 517 - Advanced Technical Writing, Editing and Docum (3 credits)

David H. Covington

Preq: for undergraduates: ENG 314 or 317; for graduates: permission of instructor.

ENG 517 Advanced Technical Writing and Editing invites students to explore the writing, editing, and designing skills employed by professional technical writers in their work. The course offers students study in the theory and practice of information design -- that is, in the production of documents that are persuasive, informative, and easy to comprehend. For Spring 2014, we will focus on web design. Assignments include one major website project and shorter assignments in web page design and site navigation (HTML/CSS; Dreamweaver/Fireworks) and the use of contentent management systems (Wordpress). Class time will be devoted to computer activities. The course is aimed particularly at those who wish to pursue careers as technical communicators.

ENG 518 - Publication Management for Technical Communic (3 credits)

Robert S Dicks

Advanced study of project and personnel management issues as they relate to technical communication. Includes such topics as scheduling, estimating, budgeting, usability testing, staffing, performance evaluation, motivation, subcontracting, and ethics. For students planning careers as technical communicators, or for others managing groups involved in information development.

ENG 522 - Writing in Nonacademic Settings (3 credits)

Huiling Ding

Directed work experience for English Department graduate students including work-site mentoring and evaluation and concurrent academic assignments. Academic component includes reading and discussing articles relevant to the day-to-day practice of writing in nonacademic settings and completion of a project that connects academic and nonacademic components. Graduate Standing in an English Department graduate program required. Modest liability insurance fee required. Students must provide their own transportation to the practicum site.

ENG 523 - Language Variation Research Seminar (3 credits)

ENG 530 - 17th-Century English Literature (3 credits)

Margaret Fyfe

Delighting in Disorder: Seventeenth Century Poetry and Prose

“Although outward peace be a great blessing, yet is it far inferior to peace within, as civil wars are more cruel and unnatural than wars abroad.” So says King James I as he accedes in 1603, uniting the kingdoms of England and Scotland. But James’s words ultimately foreshadow the very violent and unnatural internal conflicts that would come to define much of the century. Despite the grim political landscape, the period was a rich one for English letters. Taking as its tagline the title from Robert Herrick’s 1647 poetic manifesto, “Delight in Disorder,” this course will explore the possibilities revolution and unrest opened for writers as they experimented with genres, shaped their work to fit certain political alliances, continued to pursue patronage while also carving out a more public space for authorship, and themselves theorized on the role of government and religion in public and private life. We will give particular attention to women authors first publishing in this century. Authors include: Mary Sidney, John Donne, Ben Jonson, Mary Wroth, Robert Herrick, George Herbert, Margaret Cavendish, John Wilmot (Earl of Rochester), Aphra Behn, among others.


ENG 533 - Bilingualism and Language Contact (3 credits)

Agnes Bolonyai PhD

A comprehensive introduction to the study of bilingualism and language contact. We explore the most important and fascinating aspects of individual and societal bilingualism, focusing on both theoretical and practical issues. The goal of the course is to better understand the linguistic, cognitive, cultural, and socio-political dimensions of multilingualism and its role in our lives. Some of the questions we will ask include: How do people become bilingual? Is it harder for a child to learn two languages at once? Is the bilingual brain different from the monolingual brain? Why do bilinguals code-switch? What happens when one language encroaches on the other? Can language shift and loss be predicted? Does bilingualism threaten English in the U.S.? 

Additional topics to be covered include: migration, mobility and multilingualism ▪ language, ideology, and identity ▪ multilingual internet and social media ▪ linguistic landscapes in urban settings ▪ superdiverse hybridity: metrolingualism, polylingualism & translanguaging ▪ multilingualism in global marketing ▪ bilingual education.   

ENG 539 - Seminar In World Literature (3 credits)

Cross-listed with FL 539. Prof. Nathaniel Isaacson. 

ENG 555 - American Romantic Period (3 credits)

Anne Baker

This course will examine major literary works and movements in theUnited States from 1820 to 1860.  We will focus on the relationship between cultural contexts (nationalism, Westward expansion,Transcendentalism, industrialization, debates over slavery, etc.) and the remarkable formal and stylistic innovation that characterized this period in American  literary history.  Authors may include Melville, Hawthorne, Douglass, Stowe,Emerson, Fuller, Thoreau, Whitman, and Dickinson.  Seminar format.  Requirements: active participation, an oral presentation, and a research paper.


ENG 564 - Victorian Novel (3 credits)

Leila S May

This seminar is designed to introduce you to the study of the Victorian novel at the graduate level through reading novels by such authors as the Brontë sisters, Charles Dickens, George Eliot, M.E. Braddon, Wilkie Collins, Thomas Hardy, and Bram Stoker. One of the principal areas of focus will be on what was commonly termed "The Woman Question"—something that was, in fact, a series of probes, reactions and heated debates concerning the status of women that transfixed the era. We will look not only at the figure of the Victorian Angel in the House but, in particular, at various "odd" and "other" women, those who go beyond the straightforward models set out for them by the social, legal, medical and domestic ideologies of their day.

ENG 576 - 20TH-Century American Poetry (3 credits)

ENG 577 - 20th-Century American Prose (3 credits)

James M. Grimwood

Narrative and expository prose in the United States between the Age of Edison and the Age of iPod—from America’s acquisition of a colonial empire, through three world wars and an economic depression, to the global triumph (and tragedy?) of U.S. consumer capitalism.  Large themes: reactions against Victorianism; germination and multiple fruition of Modernism; various rejections and transformations of Modernism. Writing assignments: emphasis on placement of short stories in contemporary cultural contexts.  Cast of thousands includes James, Cather, Stein, Fitzgerald, Hemingway, Faulkner, Wright, Hurston, Welty, O’Connor, Barthelme, Oates, Carver, DeLillo, etc.  Average velocity of course (21.5 minutes per year) not uniformly maintained.  Two papers, including a term project; a midterm and a final exam.

ENG 582 - Studies in Literature (3 credits)

Mary Helen Thuente



Modern Irish writers have excelled in the short story.  We will study the works of masters of the short story such as James Joyce, Elizabeth Bowen, Frank O’Connor, Sean O’Faolain, Edna O’Brien, Mary Lavin, John McGahern, William Trevor, John Banville, Colm Toibin, Colm McCann, Anne Enright, Claire Keegan, and Kevin Barry.  We will explore the short story genre as an important literary form, and as a unique Irish genre within such contexts as traditional oral story-telling, the Irish Literary Renaissance and political rebellion and revolution in the early twentieth century, the post-colonial dimensions of the Irish Republic and the political violence in Northern Ireland.  Our primary texts will be two collections of Irish short stories, one edited by William Trevor, who is widely recognized as the master of the modern short story in English, and one edited by Anne Enright who won the Man Booker Prize in 2007.  We will also read Kevin Barry’s recent collection of his own stories, Dark Lies the Island (2012).  Barry’s fiction has won numerous prestigious awards in recent years and he is expected to read from his works at NCSU this spring.

James Robert Knowles

ENG 582 Romance and Repentance: Writing Religious Controversy in Medieval and Early Modern England

James Knowles

Between the fourteenth and sixteenth centuries, an astonishingly varied body of writing dealing with theological topics appeared in England, in English. Once the exclusive domain of university-trained male clerics writing in Latin, explorations of religious thought and experience were now being produced by both male and female laypeople writing in their mother tongue. But it was inescapable that in developing new literary vehicles for religious writing in the vernacular, these authors relied on existing literary forms drawn from multiple genres in multiple languages, including both explicitly religious and determinedly secular sources, including chivalric romance, dream vision, allegory, biblical drama, hagiography, and catechetical treatise. This course sets out to examine some of the texts and contexts in which this confluence of the literary and the theological emerged and articulated itself. Authors and texts may include: Chretien de Troyes, Jean de Meun, Chaucer (Troilus), Langland, the Pearl-poet, the English Wycliffites, Julian of Norwich, John Lydgate, Thomas Malory, Thomas More, William Tyndale, and Edmund Spenser. Prerequisite: Graduate status. Requirements include weekly blogging assignments, a presentation on a critical article, a final research paper, and active participation in the seminar.


ENG 583 - Studies In Composition and Rhetoric (3 credits)

Carolyn Rae Miller

Emerging Genres: History, Technology, Social Change

Genres can be understood rhetorically as ways of acting together, recurrent communicative interactions that enable social coordination. Genres both constrain and enable; they link together in systems and ecologies that mediate agency and social structure, constituting our social identities, institutions, and cultures. Genre has been an active area in rhetorical studies and professional communication for the past 30 years, and in literary and film studies for much longer. As a concept, genre cuts across disciplines and media—literature, film, painting, music, political communication, information science, etc.—and thus offers the opportunity for cross-disciplinary inquiry.

Most recently, the dynamism and creativity of the internet have brought new focus to genre studies (for example, Wikipedia has an elaborate taxonomy of videogame genres, user-generated capabilities have created fan fiction and other vernacular forms of interaction), as well as raising many questions. How do new genres emerge and evolve? How are they related to social and technological change? How can we understand the recurrence and stability of genres in times of cultural volatility? How are new genres related to old ones? Can the same theories that were developed for print genres account for visual, auditory, and digital genres?

This special topics course is designed for master’s students in English, Technical Communication, and Communication, and for doctoral students in CRDM and Design (master’s students should register for 583 and doctoral students for 798). We will read widely, to develop a multidisciplinary understanding of genre theory and to begin answering some of the questions raised above. We will also examine a wide variety of genres, to discern and analyze how genres emerge, change, and die, with an eye on the balance between stability and change and on the relationships between genre, identity, and power.

Christopher M Anson

Writing Program Administration: Theory, Research, and Practice

Co-taught: Chris Anson and Susan Miller-Cochran

Hybrid: meets T face to face and Th online

Almost everyone who earns a post-graduate degree in rhetoric and composition and pursues a career in higher education will at some point be involved in the administration of a writing program, writing center, or writing-across-the-curriculum effort, and many will become its director. Yet graduate curricula seldom focus on the complex theoretical, pedagogical, political, and managerial dimensions of such work, leaving the new WPA at the mercy of inherited practice—and much trial and error.

This special-topics seminar is designed to focus on current theories, research, and practices of writing program administration, including curricular design and assessment, faculty development, assessment of student achievement, budget oversight, the politics of administration in higher education, and historical studies of writing program administration. The seminar is designed for all interested MA and PhD students, but will be particularly valuable for those considering administrative work in first-year writing programs, writing centers, or WAC/CAC programs at a range of institutions (community colleges, small liberal arts colleges, and large research universities).

Tuesdays, 11:45-1:00; Thursdays online (hybrid format)

ENG 584 - Studies In Linguistics (3 credits)

Jeffrey Ingle Mielke

Laboratory and computational tools in phonology

This course explores laboratory and computational tools for investigating linguistic sound systems, with emphasis on tools that are useful for the study of linguistic variation.  
Students will:  
 - learn to collect and analyze speech data using methods available in the Phonology Laboratory, such as ultrasound imaging of the tongue, electroglottography, airflow measurement, and perception tasks.
 - learn computational tools relevant for collecting and analyzing data
 - read and discuss papers about some of the theoretical underpinnings of modern empirical work in phonology
 - design a project and collect preliminary data, with the option of expanding it in the future.

ENG 585 - Studies In Film (3 credits)

Course: Moving Image and Media Archaeology
Instructor: Dr. Andrew Johnston
Meets Wednesdays from 6-10 pm
How can we write histories of media? How do media emerge out of social and cultural fabrics and then circulate through them before being preserved or discarded? Where are the relics of past media stored and what do the alternative paths not taken and the now forgotten futures of media say about historic moments and the present? Furthermore, what effect do these technologies having on moving image cultures and aesthetic practices? 
This seminar will explore media archaeology in the context of film and media studies as well as the digital humanities by examining different scholarly responses to the above questions. We will move through different historical periods, from magic lantern performances and phantasmagoria of the 18th century through film and the phonograph, and then on to recent digital media and magnetic storage technologies like the floppy disk, hard drive, and IP network. Throughout the seminar we will explore these heterogeneous media landscapes of the past in order to better understand contemporary engagements with technologies as well as the aesthetic and cultural practices tied to them. We will read theories of history and other scholarship by Wendy Hui Kyong Chun, Jonathan Crary, Michel Foucault, Lisa Gitelman, Alison Griffiths, Katherine Hayles, Erkki Huhtamo, Matthew G. Kirschenbaum, Friedrich Kittler, and Siegfried Zielinski.

ENG 588 - Fiction Writing Workshop (3 credits)

John J. Kessel

A graduate fiction writing workshop. In the course of this workshop your will turn in three complete short stories or the equivalent amount of fiction, and revise two of those stories. You will do written and oral critiques of the manuscripts of your classmates. As we go along I will ask you to read stories from published fiction writers; we will discuss them at the beginning of every class. Grades will be based on your critiques of other student stories, your own stories, and your revisions.  

ENG 589 - Poetry Writing Workshop (3 credits)

John Balaban

English 589

John Balaban

Will offer individual practice in the craft of poetry.  An ancillary goal will be the development of critical awareness.  Each student will be required to write a minimum of 150 lines in addition to several formal exercises such as translating a poem from a foreign language or writing one in an arbitrarily chosen form. Class meetings will be devoted to student work as well as to essays on poetcraft and poetry in print. 589 is the graduate course intended for MFA students or others advanced enough in their poetry. Admission is by portfolio or by MFA poetry program status; anyone not in the MFA poetry program should talk to me about enrolling in the class.

ENG 590 - Studies In Creative Writing (3 credits)

Miriam E Orr


Prerequisite: ENG 588 or 589 or permission of the instruvtor.  A writing workshop in Memoir.  Techniques special to writing memoir, which include those we import from fiction and poetry.  Some readings in classical and contemporary memoir.  Topics likely to arise: How do we define truth in memoir?  How imaginative can memoir be?  Who is a memoir’s audience?  Must memoir have “the narrative arc”?  Likely experiments: micro-memoir; writing in second or third person; mapping a longer memoir.

ENG 592 - Special Topics in Film Styles and Genres (3 credits)

600-level Courses

ENG 636 - Directed Readings (1-6 credits)

ENG 675 - Projects in Technical Communication (3 credits)

David H. Covington

ENG 675 Projects in Technical Communication is a 3-credit "capstone course" for the MS Program in Technical Communication, taken as close as possible to the last semester of the student’s curriculum, in lieu of a thesis. You are eligible to enroll only if you are nearing the end of your coursework in the MS Program; you need previous coursework to develop a sustained, more complex project and to defend your projects before the MS faculty. Your projects are the subject matter of this course. Our class sessions will be conducted as seminars, with discussion centering on the progress and problems of researching, designing, developing, and defending a larger project, and on helping each other work within established deadlines and different fields. Your project will provide you with an opportunity to gain deeper insight into your field, and to acquire greater ability to work in the profession of technical communication.

ENG 676 - Master's Project in English (3 credits)

ENG 695 - Master's Thesis Research (1-9 credits)

ENG 699 - Master's Thesis Preparation (1-3 credits)

700-level Courses

ENG 798 - Special Topics in English Studies (3 credits)

Carolyn Rae Miller

See description for ENG 515.


700-level Courses

CRD 703 - Communication in Networked Society (3 credits)

800-level Courses

CRD 885 - Doctoral Supervised Teaching (1-3 credits)

CRD 890 - Doctoral Preliminary Exam (1-9 credits)

CRD 893 - Doctoral Supervised Research (1-9 credits)

CRD 895 - Doctoral Dissertation Research (1-9 credits)


200-level Courses

HON 293 - Honors Special Topics-Literature (3 credits)

Thomas P. Phillips


As applied to creative disciplines, the term horror has many connotations that reflect diverse aesthetic styles and ideologies over what is arguably a long span of time. Like other genres, horror is also deeply imprinted by the entertainment industry, particularly in the 20th and 21st centuries. This section of HON 293 will examine the genre through a variety of literary and filmic texts (among others, including music and painting) with the aim of gaining insight into the central question of why we are drawn to horror as entertainment and cultural practice.  Additionally, the course will explore five commonly overlapping aspects of the genre: the psychology of spectatorship, horror as cultural commentary, gender, religion, and the democratization of discursive and visual art forms.

Students will be asked to engage with readings ranging from literary to theoretical texts on the aesthetics and psychology of horror as it relates to each medium.  Most films will be viewed outside of class at designated times and places or at the student’s convenience, though we will watch clips in class.  Evaluation will be based on class participation, one response essay, a longer research-based essay, and a final exam.

HON 296 - Honors Special Topics-Science, Technology, So (3 credits)