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Spring 2015 Courses

ENG

100-level Courses


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 http://social.chass.ncsu.edu/fwp/NewFrWrReq.htm.

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)

Thomas D Lisk

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 207 Studies in Poetry-Spring 2015

Instructor: Tom Lisk

REQUIRED TEXT:

Helen Vendler, Poems, Poets, Poetry, Third Edition

COURSE DESCRIPTION: In this course you will read, discuss and write about poetry as a form of oral and written communication. The readings will help you gain a technical appreciation of poems as artistic unities of form and content, emotion and idea, language and knowledge, sound and sense. 

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 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 233 - The Literature of Agriculture (3 credits)

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.

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)

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)

Paul Rodman Cockshutt Jr

Prerequisite ENG 214, ENG 101

Techniques of writing news stories and feature articles. Components of newsworthiness, examination of evidence, interview techniques, varied writing styles. Role of newspapers and journalism in America.
   
 

ENG 317 - Designing Web Communication (3 credits)

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

Brent Simoneaux

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)

Staff

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)

Staff

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)

Staff

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)

Susan M Katz

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 Katz for more information.

ENG 372 - Early Twentieth-Century Poetry (3 credits)

Thomas D Lisk

ENG 372 Early 20th Century Poetry –Spring 2015

Instructor: Tom Lisk               

 

REQUIRED TEXT:

The Norton Anthology of Modern and Contemporary Poetry, Vol. 1 Modern Poetry.

 

COURSE DESCRIPTION :  The goals of the course are to give you an overview of British and American Poetry 1900-1950, and to explore the work of several poets in depth.  The material will be centered around three particular years 1922, 1936 and 1947.  We will look in depth at poetry published in the context of other events of historical significance during those three years, including the work of such poets as Wallace Stevens, T. S. Eliot, Mina Loy, Marianne Moore, Langston Hughes and W. B.  Yeats.

ENG 373 - Late Twentieth-Century Poetry (3 credits)

Jon F Thompson

We’ll read collections by Allen Ginsberg, George Oppen, CD Wright, Franz Wright, August Kleinzahler, Denise Levertov, Fanny Howe, Charles Wright, Peter Riley and Yusef Komunyakaa. We will look at the “work” of these books--the aspirations they have as voices in the world--the traditions they have evolved out of, the notion of authorship they inscribe, and their proximate distance from the aspirations of the historical avant-garde. We will also read some critical essays and interviews. Pre-requisites: a willingness to be challenged by poetry. Written requirements will include two out-of-class critical essays, a midterm and a final.

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 375 - African American Cinema (3 credits)

Marsha Gabrielle Gordon PhD

This course traces the history of African-American film culture from the turn-of-the-century to the present.  We will begin by studying pre 1950s cinematic representations of African Americans, from the films of Thomas Edison to those of black independent filmmaker Oscar Micheaux.  We will consider major directorial figures, genres (melodrama, gangster, documentary), and historical movements (Blaxploitation, 1980s social realism, and so on).  In addition to looking at films made primarily by African-American directors, we will consider on-screen images of African-Americans over the course of the last hundred years of American cinema.  Directors will likely include Spike Lee, Melvin Van Peebles, Julie Dash, Haile Gerima, Kasi Lemmons, among others. Requirements include two analytical papers and a final examination.

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 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 many others. Students will also consider some of the ethics of creative nonfiction. 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 partly as a workshop, partly as a seminar, with outside readings, and at least two student-instructor conferences during the semester.

ENG 382 - Film and Literature (3 credits)

Ora Gelley
 
Starting virtually with the birth of the movies, there exists a long history of adapting a variety of kinds of texts–plays, parables, novels, stories, etc–into films. No single “formula” or “theory” of adaptation exists. Rather, the work of adaptation involves a process of translation and transformation, a process which this course will explore. Our study of this process will force us to consider the form or genre of the original source text. In order, for instance, to gain some understanding of Pier Paolo Pasolini’s film (from 1967) based on Sophocles’ play Oedipus Rex, for instance, we must consider not one but three source texts: the Oedipus tale of Greek myth and drama, Sigmund Freud’s interpretation of that tale, and finally, a modern story based on Pasolini’s own autobiography which frames the mythic recreation of the film. In the case of Lars Von Trier’s The Five Obstructions (2003), to give another example, we will explore the process by which a filmmaker, in collaboration with his colleague, re-makes, in five entirely different versions, a short film produced by him 25 years earlier. In this case, the transformation does not involve a  shift from text to screen, but rather, is driven by a series of “obstructions” (devised by the student, Von Trier, for his former film teacher, Jorgen Leth) which determine the form of each re-make. The course will cover a range of textual forms and cinematic and literary genres–including Greek tragedy, the Female Gothic, the novel, the biblical text, the short story,  and the animated film. Issues, in addition to those of genre and adaptation, that will be discussed include: intertextuality; point of view (how, for instance, is the subjective or “first person” voice expressed differently in film and literature?); narrative and narration; historiography.

ENG 384 - Introduction to Film Theory (3 credits)

Devin A. Orgeron PhD

Film Theory

English 384

Monday/Wednesday: 10:15-12:05

Dr. Devin Orgeron

 

This course will introduce students to a variety of critical approaches to and debates within film studies.  We will consider the aesthetics of cinematic form and discuss the constituent elements of “film language;” we will enter the longstanding debates regarding film “authorship” and consider one contemporary “auteur;” we will investigate theories of genre and explore one genre closely; we will explore theories of spectatorship, with a particular focus on race and gender; we will consider theories of postmodernism and seek examples of “the postmodern condition” at work; and, finally, we will consider film within a larger historical/cultural framework through a critical, library/archive-based research project.  

Plus, perhaps obviously, we’ll watch movies!

-quizzes, 2 short papers, and take a cumulative final examination-

NOTE: Eng. 282 (Intro. To Film) is listed as a prerequisite for the course.  Email Dr. Devin Orgeron to have this waived: devin_orgeron@ncsu.edu

 

ENG 388 - Intermediate Fiction Writing Workshop (3 credits)

ENG 392 - Major World Author (3 credits)

Nicholas Halpern

In this class we will engage in an in-depth discussion of the novels, plays and short stories of Samuel Beckett, one of the most profound and darkly hilarious writers of the twentieth century. Among the works we will read are Murphy, Watt, Molloy, Krapp's Last Tape, Endgame, Waiting for Godot, First Love, The Expelled, and The End.  There will be three five-to-seven-page papers and a final exam.

ENG 393 - Studies in Literary Genre (3 credits)

Hans Dodds Kellner PhD
This is a course on the Historical Novel, a major genre
for 150 years.  It will specifically focus on literature
about Greek, Roman, and Biblical antiquity, including 
Wallace's Ben Hur, Wilder's The Ides of March, and Renault's 
The Mask of Apollo.

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)

Stephen Andrew Carradini

The Rhetoric of Artist Work in the Digital Age: The advent of the Internet proliferates and complicates the number of written and digital genres artists must understand in order to build careers. Students in this course will learn how digital work takes place in the lives of artists (musicians, authors, actors, visual artists, and more) from multiple perspectives: historical analysis, rhetorical analysis of contemporary digital work, and text production.

Work will be focused on the tools and texts that artists use: websites, social media, e-mails, videos, Kickstarter projects, arts grants, and more. This is not a class about art, but instead a class about the rhetorical work that artists do; the goal is to learn how artists operate their careers in the digital era, not to analyze art in any degree. Students will study both the theory and practice of digital work, making ENG395 applicable to those interested in studying digital culture, participating in digital work, or preparing for a career in the arts.

ENG 399 - Contemporary Literature II (1940 to Present) (3 credits)

Barbara A Bennett

Contemporary World Novel. In this class we will be reading and discussing the best of recent novels written around the world.

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 411 - Rhetorical Criticism (3 credits)

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

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 422 - Writing Theory and the Writing Process (3 credits)

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

ENG 448 - African-American Literature (3 credits)

Denise Heinze

 

In this course, we will be focusing on the influences of history and memory in selected contemporary African-American novels.  Though written within the last several decades, they all will demonstrate how the past, and the process in which it is recalled, are ever present in African American fiction.  In addition, we will see how our novelists negotiate history, as a more formalized record of the past, with memory, which incorporates such African-American oral traditions as storytelling and call and response.  Finally, we will investigate the notion of synchronicity, or the convergence of past, present, and future, as it uniquely manifests in African-American novels.   Among the authors we will study include Morrison, Gaines, Williams, Jones, Danticat, and Bradley.  



ENG 452 - Medieval British Literature (3 credits)

James Robert Knowles

This course is designed as an introduction to literature in Middle English, excluding Chaucer’s Canterbury Tales. We will read a selection of major texts contemporary with Chaucer’s literary career, beginning with his other masterpiece, the historical romance of Troilus and Criseyde. From here we will move on to the works of the anonymous Pearl-poet, including the chivalric tale of Sir Gawain and the Green Knight, the dream-elegy called Pearl, and Patience, a retelling of the Book of Jonah written in vigorous alliterative verse. The second half of the course will focus on the extraordinary range of religious writing in late medieval England: from the allegorical dream-vision of William Langland’s Piers Plowman, to the civic spectacle of the York Mystery plays, to the visionary theology of Julian of Norwich (the first English woman to be identified as an author--though her true identity remains a mystery). No prior knowledge of Middle English is required. Instruction (and practice) in how to read and interpret Middle English poetry and prose will be a major component of the course, but for some of the texts we will enlist the help of facing-page modern translations. 

ENG 453 - The Romantic Period (3 credits)

Sharon M. Setzer

 

The course will focus on various ways in which the imaginative literature of the Romantic period responds to the realities of industrialization, war, political turmoil, the exploration of far-away places, the exploitation of other cultures, and competition in the literary marketplace.  While considering historical contexts for literary works, we also will examine how literary works of the Romantic period advocated change, how they were received by the reading public, and how they have provoked spirited interpretative debates in recent years.  Authors studied include Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats, as well as some of their influential contemporaries. 

ENG 470 - American Literature, 1914-1945 (3 credits)

Rebecca Ann Walsh

The first half of the twentieth century was marked profound social and political change, and its accompanying loss of formerly stable values and categories can be linked to many of literary modernism’s signal experiments.  Modernist literature refashions identity, aesthetics, notions of culture and national belonging, and more, which for some writers reflects a nostalgic longing for lost order and for others a liberatory excitement about leaving the past behind. This course will explore a range of modernist texts that dwell in this moment between mourning a loss of home (in culture, in language and literature, in the nation-state) and redefining or reterritorializing it into something new (Pound’s “make it new”) and more usable.  Course materials will draw from a range of American literary texts (poetry, fiction, the manifesto), film, visual art, historical documents, and excerpts from scholarly essays in the field of modernist studies.  Part of our work will be animated by how texts respond to changing notions of American identity, which is necessarily affected by contact with "other" places/cultures as well as the expatriation and dislocation of a number of American modernist writers.  Other topics will include crises of selfhood and identity; the critique of language and of representation; crises in knowing; the role of popular culture and the vernacular; national identity and definitions of American-ness; and finally, but not least, modernism’s  “early” forays into postmodernism.  

The list of required primary literary texts may include work by figures like Gertrude Stein, Ernest Hemingway, Ezra Pound, William Carlos Williams, Marianne Moore, H.D., T.S. Eliot, Jessie Redmon Fauset, W.E.B. DuBois, Carlos Bulosan, Djuna Barnes, Langston Hughes, Faulkner, among others, and films like the 1930 film Borderline (starring Paul Robeson, H.D., Bryher).  Course requirements include two essays and two exams, in addition to other, smaller assignments.

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 becomes 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 491 - Honors in English (3 credits)

James Robert Knowles
English Honors Seminar: Heaven and Hell: Literary Pictures of Life and Afterlife
Is there a connection between religious commitment and literary artistry? 

How are abstract theological ideas translated into stories about how to live

in the world? What do poetic imaginings about life and afterlife, heaven

and hell, reward and punishment tell us about the way we structure our

politics, our social systems, and our relations with the people we love and

hate? Can stories just be stories without laying claim to some higher moral

or theological truth? This course will focus on literary representations of

the connection between life and afterlife. Beginning with Aeneas’s descent

into the underworld in book VI of Virgil’s Aeneid, we will proceed to a pair

of medieval Catholic versions of paradise and perdition in Dante and the

Pearl-poet, followed by a pair of Protestant versions in Milton’s Paradise

Lost and Blake’s Marriage of Heaven and Hell. We will then expand our

study culturally and geographically to include post-colonial Africa (Amos

Tutuola’s Palm-Wine Drinkard), post-war Palestine (Ghassan Kanafani,

Men in the Sun), and post-modern Japan (stories by Haruki Marukami).
There will be regular quizzes, serious discussion, a critical response presentation, 
and a substantial research paper.

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

Marsha Gabrielle Gordon PhD

ENG 492/IDS 496, The Musical [special topics in film]

Dr.  Marsha Gordon

Gotta sing? Gotta dance? This class will explore film musicals in all of their splendor and variety, from gritty, Depression-era black-and-white stories about tough times; to fanciful Technicolor wonders celebrating the romance and joy of life; to post-modern meditations on contemporary life.  Our goal will be to better understand the genre’s history, its international variations, and its current status.  The musical film has experienced a number of distinct cycles and transformations, with which students will become familiar as we look at films from the United States, France, Australia, China, India, and England.  Far from being an exclusively romantic, nostalgic, or uplifting genre (although it can be all of these things), the musical film has also addressed politics (personal, national, and global), tested the boundaries of morality (from its earliest years on), and pushed the limits of film style and form.  Directors will likely include Mervyn LeRoy/Busby Berkeley, Stanley Donen/Gene Kelly, Jean Luc Godard, Jacques Demy, Lars von Trier, Tsai Ming Liang, Bob Fosse, and Baz Luhrmann.  Students will do in-class presentations and research papers, and take a final oral examination.

 

 

 

 

 

 

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

Christopher James Crosbie

Shakespeare's Aristotle, a Capstone Seminar

"Shakespeare's Aristotle" may, at first glance, seem a decidedly old-school topic for a course.  Few figures in Western literature and philosophy have received as much attention over the centuries as these two iconic writers.  Their names are instantly recognizable, their works foundational to our own culture and age.  Yet, strangely, they're rarely studied together -- despite the fact that Aristotle's ideas permeated the world in which Shakespeare lived.

This course will begin with a brief introduction to Aristotle's basic works -- the man studied virtually every topic under the sun -- and will consider the ways this prominent philosopher influenced Shakespeare's world.  Since this is a literature, not a philosophy, course, this introductory survey will serve to frame our consideration of six of Shakespeare's most famous plays, the central focus for our class.  We will study The Comedy of Errors, Titus Andronicus, Henry V, Othello, King Lear, and The Winter's Tale.  This will provide a nice mix of comedy, tragedy, history, and romance, and will give us a superb overview of the playwright's writing career.

For all the headiness and high-mindedness of linking philosophy and literature, we will remain firmly grounded in the reality of these texts as works designed for performance.  As such, we'll consider staging practices and compare different representative productions through frequent use of film clips.  Throughout all of this, we will consider how both philosopher and dramatist try to get at the "big questions" of life: what defines morality, how does one make sense of the world, upon what basis do communities ground political authority, when should one go against the conventional ideas of the culture and when should one comply with them?  What sorts of useful, illuminating things can we learn, in short, from a guy in a toga, a playwright scribbling furiously with his quill?

Assignments will include two exams, periodic quizzes, lively discussion, and a final term paper.

 

 

500-level Courses


ENG 509 - Old English Literature (3 credits)

Erik R Thomas

An introduction to both the Old English language and the main literary types of Old English writings.  Linguistic aspects will focus on the grammar and pronunciation of Old English, with attention paid to historial explanations for Old English patterns.  Literary aspects will involve translations of excerpts of poetry and prose, including Beowulf, historical writings, and religious works.

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

Christopher M Anson

This course surveys contemporary scholarship in composition studies and its application to the teaching of writing in college. Through readings, discussions, research, and responses to classroom scenarios, students will explore current theoretical approaches to writing and the teaching of writing, as well as a range of practical concerns and professional issues (e.g., writing across the curriculum, writing in the disciplines, writing to learn, computers and composition, writing assessment, writing centers, etc.). Students will have the opportunity to investigate specific aspects of the field through individual research projects. Coursework also includes responses to readings and scenarios, annotations of readings to be posted to CompPile, and "theory-into-practice" strategies. [Prerequisite for prospective Composition TAs in the English Department.]

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

Carolyn Rae Miller

Rhetorical criticism asks how we are appealed to and engaged by the discourses that surround us, as well as how they constitute us as citizens, consumers, professionals, enthusiasts (or doubters), and critics. In this course, we’ll examine contemporary issues, debates, and approaches in rhetorical criticism. The course will be conducted as a seminar with significant emphasis on student presentations, research, and practice of critical approaches.

We will examine the assumptions, achievements, and limitations of a variety of rhetorical approaches (for example, neo-classical, generic, metaphoric, dramatistic, narrative, feminist, ideological) and survey their application to a variety of discourses (for example, political, institutional, popular entertainment, scientific, legal, educational, religious) and modes (visual, material, and digital, as well as oral and written). We will also consider the relationships between rhetorical criticism and other forms of cultural criticism, including literary criticism.

Probable course requirements include both informal (e.g., class blog or wiki) and formal written work (midterm exam, critical project), as well as informal oral reports and a formal oral presentation.

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 519 - Online Information Design and Evaluation (3 credits)

ENG 522 - Writing in Nonacademic Settings (3 credits)

Susan M Katz

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. Contact Professor Katz for more information.

ENG 523 - Language Variation Research Seminar (3 credits)

ENG 531 - American Colonial Literature (3 credits)

Anne Baker

Narrative and Identity in Early American Literature (1630-1846)

The reading for this course will consist of autobiographical texts and novels written during the colonial and early national periods.  We will consider how the authors' various identities--gendered, ethnic, religious, colonial, national, etc.--shaped their worldviews and their narratives.  We will also examine how narrative functioned as a way of constructing and at times calling into question such identities.  Authors may include: Mary Rowlandson, Jonathan Edwards, Benjamin Franklin, Charles Brockden Brown, Susanna Rowson, Hannah Webster Foster, James Fenimore Cooper, Catherine Sedgwick, and Herman Melville.

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)

Rebecca Ann Walsh

This course examines modernist literary, filmic, and artistic modernist movements of the twentieth century in a global context.  The traditional story of modernist literature was for a long time a narrowly circumscribed affair, focusing mainly on Anglo-European literature produced between 1914-1945 and enlivened by an occasional dose of Irish and American expatriate writers  (a very small way that global movement was a recognized part of modernism, conventionally defined).   But over the last decade or so, the fields of cultural studies, critical race theory, women's studies, postcolonial studies, political theory, and cultural geography have helped modernist studies become more responsive to the dynamics of colonization and imperialism, to race, and to ideas about nation and sovereignty. The result has been an expansion of modernism’s geographic borders (to imagine “modernist literature” to mean more than texts produced in Paris/London/New York) as well as a push to extend its temporal borders later into the twentieth century (as one scholar has put it, to assume modernism exists between the two world wars is like one hand clapping). 

This course will explore an array of Anglo/American/European and non-western modernist writers spanning the globe and will feature texts that are both familiar and less well-known in the modernist canon. Primary authors will be drawn from this slightly longer list: James Joyce, Virginia Woolf, E.M. Forster, French surrealist novelist Rene Crevel, Langston Hughes, Claude McKay, Jean Rhys, Albert Camus, Sarojini Naidu, Rabindranath Tagore, Premchand, Mulk Raj Anand, Naguib Mahfouz, Tayeb Salih, Amitav Ghosh, and/or Arundati Roy. Films may include Borderline (1930) or Dark Sands/Jericho (1937).  The first half of the twentieth century will be our main emphasis but the last portion of the course will push beyond this. Alongside primary works, we will read some scholarly texts that address empire, cosmopolitanism, globalization, geopolitics, translation, diaspora, and planetarity.

Cross-listed with FL 539 (Also taught by Professor Walsh)

 

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

Miriam E Orr

Organized around the theme, Home and Exile, we will read from a number of American writers (primarily fiction writers) publishing between 1940 and the present.  Authors likely to be included are Gertrude Stein, Ernest Hemingway, Richard Wright, Shirley Jackson, Flannery O’Connor, John Edward Williams, Toni Morrison, Marilynne Robinson, Tim O’Brien, Cormac McCarthy, and Teju Cole, though I am still fine-tuning the syllabus.

ENG 582 - Studies in Literature (3 credits)

James M. Grimwood

The Literary Culture of the United States During the Civil War 

Not just writing about the war.  An investigation of writing that occurred in the United States before, during, and after the Civil War, from the late 1850s through about 1870—measuring the impact of intense social experience upon various American imaginations.  Emphasis on short fiction and poetry, along with treatments of popular song, oratory, letters, diaries, and journalism; consideration of painting, music, science, religion, economics, etc. as contexts for literature. Much less emphasis on campaigns and battles.  Attention to short works by both "major" authors (Whitman, Hawthorne, Stowe, Emerson, Douglass, Melville, Dickinson, Howells, James), and "minor" authors (Edward Everett Hale, Harriet Jacobs, Fitz-James O'Brien, Harriet Prescott Spofford, Henry Timrod, etc.).  Transition from “romanticism” to “realism.”  Essays, science fiction, domestic fiction, travel writing, ghost stories, literary translations, etc.—as well as a few narratives of warfare.  Telegraphy, birdsong, the aurora borealis, photography, the mechanics of walking, the man without a country, the question of monuments.  Pioneer “archeological” research in “The Making of America,” “Chronicling America,” and other on-line databases of nineteenth-century American discourse. A short paper, a long paper, a final exam. This course satisfies the American-literature requirement for the M.A. in English.

Timothy Linwood Stinson

This course will provide an overview of book history from the invention of the codex to the present. We will focus on the history of the book both as a discipline and as a nexus of other disciplines and specializations. Course time will be divided between studying and analyzing books as physical objects and investigating the many social roles involved in creating and using books, including those of author, editor, printer, publisher, reader, and seller. The course will require field trips to regional special collections libraries and a commercial printing press.

ENG 584 - Studies In Linguistics (3 credits)

Walter A Wolfram

Topics in Sociolinguistics: Ethnolinguistic Variation

This seminar examines the nature of ethnolinguistic variation in the English-speaking diaspora, considering models for measuring and describing both ethnicity and language variation. Socioethnic variation in North America (e.g. African American English, Latino English, American Indian English, Jewish English), the Caribbean (e.g. Bahamas, Jamaica), Africa (Nigeria, Liberia), and Asia (Indian English, Hong Kong English) are examined. Students are expected to partiicpate actively in discussions and conduct an analysis and description of an ethnolinguistic variety or ethnolinguistic repertoire.

ENG 524 or ENG 525, or the approval of the instructor, is a prerequisite.

 

ENG 585 - Studies In Film (3 credits)

Ora Gelley

Spring 2015 (course meets Wednesdays 6 - 10 pm)

ENG 585, European Cinema from 1945 to the Present

Professor Ora Gelley

The course is meant to provide an overview of European cinema from 1945 through the present and some of its major directors while considering the cultural and historical context of their production and reception. Our approach to the individual films will be comparative and intertextual, as we attempt to define the stylistic specificity of each film vis-à-vis the European and also other (e.g., American) filmic traditions. The course will also trace the development of a number of themes/issues as they are represented in a selection of film movements of the post-war period. These include: cinematic modernism; realism in the cinema; film and authorship; art cinema vs. popular cinema; the concept of national cinema; the representation of history, memory, and cultural identity in film; film production and film policy; gender roles and sexual identity. We will, in addition, look at more recent European films (of approximately the last twenty years) that examine the experiences of minority and migrant communities within contemporary Europe, considering in particular the ways in which contemporary debates about immigrant communities in Europe are influenced by the legacy of European persecution of minorities during World War II. Filmmakers to be considered include Roberto Rossellini, Luchino Visconti, Michelangelo Antonioni,  Jean-Luc Godard, Werner Herzog, Lars Von Trier, Mathieu Kassovitz, Jean-Pierre Jeunet, Abdellatif Kechiche, Pedro Almodóvar, Michael Haneke, and others. Attendance and regular class participation are required. Students will be asked to complete four short "response" papers throughout the course of the semester, as well as a final research paper.

ENG 587 - Interdisciplinary Studies in English (3 credits)

Jennifer Anne Nolan-Stinson

American Reading Cultures 

This course offers an introduction to the interdisciplinary methods being used by scholars who seek to understand twentieth-and twenty-first-century U.S. readers and cultures of reading. Using documentary and ethnographic evidence, our readings will take us from editorial offices to living rooms, evangelical churches, and women’s prisons, and we will consider both how societal forces imagine and attempt to shape readers and reception, and how readers respond within and against these attempts.  Among topics we will consider are the following:

  • the cultures of reading “that emerge in response to specific material conditions and institutional regulations” (Sweeney 2010, 6), such as women’s prisons, and among readers of genre fiction, such as romance (Radway 1991) and the Christian apocalyptic Left Behind series (Frykholm 2004)

  • the foundation, maintenance, and audience of middlebrow culture as seen through the lens of the Ladies Home Journal  (Blair 2012), the Book-of-the-Month Club (Radway 1989), and readers themselves (Long 2003, Parchesky 2002)

Students will also have the opportunity to delve further into one group or reading culture of particular interest to them by completing a review of the literature on existing work with that group and a detailed research proposal.

 

ENG 588 - Fiction Writing Workshop (3 credits)

Belle McQuaide Boggs

Graduate fiction workshop for the MFA Candidates. Expect to workshop three pieces of fiction.

ENG 589 - Poetry Writing Workshop (3 credits)

John Balaban

English 589

John Balaban

English 589 will offer individual practice in the craft of poetry.  Each student will be asked to write a minimum of 150 lines of poetry in addition to several formal exercises such as translating a poem from a foreign language or writing a poem in an arbitrarily chosen form.  Class meetings will be devoted to student work as well as to essays on craft and discussions on published poetry. 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)

John J. Kessel

English 590   Studies in Creative Writing:  The Novella

A workshop in writing the novella or short novel.  In the course of the semester we will read and discuss one novella a week, ranging from classics such as Tolstoy's The Death of Ivan Illyich to contemporary works such as Don De Lillo's Pafko at the Wall.  We will do writing assignments leading, by the end of the semester, to each student completing an original novella.  Classes will include workshop sessions where students comment on each other's work.

 
Belle McQuaide Boggs

This graduate-level class will read and discuss work by a wide variety of essayists, from originators of the form to innovative contemporary writers. We'll consider craft issues the personal essay shares with fiction and poetry, as well as the way the practice of writing essays can uncover, clarify, and enhance issues and emotions in our other genres. In addition to writerly discussion of form and technique, in-class work will include generative exercises inspired by our readings. For a final project, students will have several choices, including the possibility of creative work.

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

Marsha Gabrielle Gordon PhD

See Eng 592, The Musical, for description. Eng 592 is only open to MA English students enrolled in the film concentraiton. Email marsha_gordon@ncsu.edu for permission to add only if you are an MA film concentration student.

600-level Courses


ENG 636 - Directed Readings (1-6 credits)

Ann M. Penrose

ENG 636 provides directed study in areas of special interest that are not addressed in the department's regular course offerings.  See the grad programs website for information about proposing an independent study: http://english.chass.ncsu.edu/graduate/current_students/directed_readings.php.

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 688 - Non-Thesis Masters Continuous Registration - (1 credit)

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

700-level Courses


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

Carolyn Rae Miller

See description for ENG 515.

CRD

700-level Courses


CRD 790 - Issues in Communication, Rhetoric, and Digita (3 credits)

CRD 791 - Special Topics in Communication, Rhetoric, an (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)

HON

200-level Courses


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

Thomas P. Phillips

THE POWERS OF HORROR

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)