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Undergraduate Classics—1 í Undergraduate Linguistics—1 í Undergraduate Literature—3 í Undergraduate Writing—11 í Film – 19 í Graduate Linguistics—19 í Graduate Literature—20 í Graduate Writing—26

Undergraduate ClassicsCLAS L250-01: Second Year Latin IITR 12:00-1:15 P.M. D. Fleming Call No. TBDP: CLAS-L200 or instructor’s approval. Reading from select authors, emphasizing the variety of Latin poetry. Particular focus will be on Vergil’s Aeneid.

Required Texts Vergil's Aeneid, Books I-VI (Latin Edition) (Bks. 1-6) Clyde Pharr, ed.

Evaluation methods Quizzes, exams, translation

Undergraduate LinguisticsENG L103-02: Introduction to the Study of LanguageTR 1:30-2:45 P.M. S. Bischoff Call No. 22913P: None. An introductory survey of linguistics with special attention to the English language emphasizing phonology, morphology, syntax, semantics, and other various subfields as time permits. This course satisfies Competency Area B5: Social and Behavioral Ways of Knowing (all) and Competency Area A1: Written Communication 1.6.

Required Texts None (Assigned readings will be provided)

Evaluation methods To be announced

ENG G301-01: History of the English LanguageTR 3:00-4:15 P.M. D. Fleming Call No. 21929P: None. HEL covers the development of the English language from its Indo-European roots and Germanic cousins, through Beowulfian Old English, Chaucer’s Middle English, Shakespeare’s Early Modern English all the way to the diversity of varieties of English in the world today, from Scots to Australian, African-American to British, Hoosier to Brooklyn.

Required Texts To be announced

Course DescriptionsSpring 2016

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Evaluation methods Two online projects; translation assignments; quizzes; midterm and final

LING L322-01M: Methods & Materials in TESOL IIR 6:00-7:15 P.M. A. Macomber Call No. 22114OCIN (Hybrid)P: Methods and Materials in TESOL I. This course aims at broadening course participants’ understanding of principles and practices of course planning, assessment and materials development for ENL instruction. Building on topics covered in the course Methods and Materials for TESOL I, we continue to examine effective instructional approaches and practices with an emphasis on developing reading and writing skills in English as a new language as well as effective and supportive instructional strategies for academic success. In addition, this course intends to promote course participants’ awareness and skills for culturally inclusive instruction. Course requirements include online discussion, assignments, learner needs analysis, and materials development project with lesson plans for a teaching unit.


Evaluation methods Journals, discussions, assignments, and project

LING L360-01: Language in Society T 4:30-7:15 P.M. S. Bischoff Call No. 22214P: None. : A general introduction to sociolinguistics, for the nonspecialists. Topics covered include regional and social dialects, the politics of language use in social interaction, language and social change, and men’s and women’s language, as well as issues in applied sociolinguistics such as bilingualism and African American Vernacular English in Education.

Required Texts None (Assigned readings will be provided)


ENG G432-01: Second Language Acquisition W 4:30-7:15 P.M. S. Bischoff Call No. 21696P: None. An introduction to second language acquisition which incorporates various approaches, theories, and disciplines to better understand the diverse field of second language acquisition studies.

Required Texts Introducing Second Language Acquisition, 2nd edition. Murieal Saville-Troike.

Cambridge University Press ISBN 9781107648234

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Undergraduate LiteratureENG L102-01: Western World Masterpieces IIMWF 11:00-11:50 P.M. T. Bassett Call No. 22255P: None. The purpose of this course is to survey important authors, works, genres, and movements of Western literature from roughly the eighteenth century to the present. Our emphasis will be on the analytical reading of texts, especially formal analysis, within the larger historical, social, and cultural ideas of the time. In addition to shorter works, we will read Moliere’s Tartuffe, Behn’s Oroonoko, Shelley’s Frankenstein, Ibsen’s Hedda Gabler, and Brecht’s The Good Woman of Setzuan.

Required Texts The Norton Anthology of Western Literature, 9th edition, volume 2 (Norton)

Mary Shelley, Frankenstein (Penguin)

Evaluation methods Evaluation will be based on class participation, response papers, midterm,

and final exam

ENG L101-01: Western World Masterpieces ITR 10:30-11:45 A.M. D. Fleming Call No. 23939P: Placement at or above ENG W131 or equivalent. We will read and discuss a number of “important” works of literature from the earlier half of Western Civilization focused on the themes of “Love and War.” We will examine and debate why someone decided that these works are so important, not to mention what exactly the “western world” is. We will use these texts to practice reading slowly, closely, and careful, and writing clearly and concisely.‘In our days,’ continued Vera--mentioning ‘our days’ as people of limited intelligence are fond of doing, imagining that they have discovered and appraised the peculiarities of ‘our days’ and that human characteristics change with the times.--Leo Tolstoy, War and PeaceThe value of the study of ancient and medieval literature—the subject matter of ENG L101 Western World Masterpieces—is predicated at least in part on the notion elaborated by Tolstoy above that human experiences retain some fundamental characteristics throughout time. Thus the struggles and conflicts delineated in a 3000-year-old work like the Iliad, for example, can continue to teach even 21st century students lessons about human behavior.

Required Texts HOMER: The Essential Homer, Translated and Edited by Stanley Lombardo,

Introduction by Sheila Murnaghan, 2000 532 pp. ISBN: (0-87220-540-1)/(9780872205406)

SOPHOCLES, Antigone, Translated, with Introduction and Notes, by Paul Woodruff, 2001 102 pp. ISBN: (0-87220-571-1)/(9780872205710)

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VIRGIL, The Essential Aeneid, Translated and Abridged by Stanley Lombardo, Introduction by W. R. Johnson, 2006 248 pp. ISBN: (0872207900)/(9780872207905)

DANTE, Inferno, Translated by Stanley Lombardo, Introduction by Steven Botterill, Notes by Anthony Oldcorn, March 2009 512 pp. ISBN(0-87220-917-2)/(9780872209176)

Evaluation methods Participation, regular short writing assignments, 3 papers, 3 short exams.

ENG L202-01: Literary Interpretation MW 1:30–2:45 P.M. J. Reynolds Call No. 23941P: W131 or equivalent. Required course for English majors; satisfies second semester writing requirement for non-majors. Students in L202 are expected to gain 1) a working knowledge of literary theory, including an understanding of different methods of analysis and interpretive strategies that have been used to derive meaning and significance from literary texts; 2) the ability to critically read, think, write, and communicate effectively about literature; this will typically involve organized class discussions, close reading, explications, and well-articulated prose analyses; 3) familiarity not only with the essential elements of literature, including critical vocabulary and generic breadth, but also with major research sources, including the MLA International Bibliography; and 4) recognition of the cultural and historical importance and complexity of literature as a body of works written by men and women across time and ethnic boundaries..


Evaluation methods In class writings, oral presentations, and final research paper

ENG L202-02: Literary Interpretation TR 10:30–11:45 A.M. A. Kopec Call No. 21178P: W131 or equivalent. ENG L202 introduces the reading and writing strategies essential to academic literary studies. We will read widely in the three major literary genres -- drama, poetry, and fiction -- and we will become familiar with a range of interpretive methodologies that will help us ask sophisticated versions of the question: “what does the literary text mean?” Please stop by LA 133 or email me ([email protected]) with questions about the course.

Required Texts They Say/I Say: Making the Moves that Matter in Academic Writing (3rd ed.)

Evaluation methods Assignments will include four formal papers (3 shorter ones and a longer one)

and informal writing discussions on Blackboard that allow us to practice close reading and literary research strategies

mailto:[email protected]

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ENG L251-01: American Literature After 1865Online M. Kaufmann Call No. 22952P: None. After completing the course, you should know and understand the evolution of American fiction and poetry from the post-Civil War period to the present day. Further, we will see how American literature reflects the technological and sociological shifts that occurred in American society and life during the twentieth century.

Required Texts Baym et al. eds., Norton Anthology of American Literature, Shorter 8th ed.

(Vol. 2)

Evaluation methods Weekly Readings Discussions Regular Quizzes Midterm and Final Visual Poetry Enactment Project

ENG L302-01: Critical and Historical Survey of English Literature IIMWF 10:00-10:50 A.M. T. Bassett Call No. 22211P: None. The purpose of this course is to survey the important authors, works, and movements of English literature from the Romantics to the present. Our emphasis will be on the analytical reading of texts, especially formal analysis, within the larger historical, social, and cultural ideas of the time. In addition, you will gain experience in the critical reading of texts, including both formal analysis of literary devices (“close reading”) and socio-historical analysis. An especial focus of the course will be reading the assigned texts in the context of historical, social, and cultural discourses in England at the time. In addition to shorter works, we will read Austen’s Emma, Forster’s Howards End, Cartwright’s Road, and McEwan’s Atonement.

Required Texts The Longman Anthology of British Literature, volume 2 Jane Austen, Emma (Oxford) E. M. Forster, Howards End (Penguin) Jim Cartwright, Road (Methuen) Ian McEwan, Atonement (Anchor)

Evaluation methods Evaluation will be based on class participation, response papers, final essay,

and final exam

ENG L315-01M: Major Plays of ShakespeareM 1:30-2:45 P.M. R. Hile Call No. 23289P: L202, W233, or equivalent. In this course, students will develop a familiarity with the language, style, thematic, and genre choices characteristic of the works of William Shakespeare by focusing on seven plays: A Midsummer Night’s Dream, Much Ado about Nothing, Othello, Macbeth, Henry V, Richard III, and The Winter’s

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Tale. Students will consider the works of Shakespeare as shaped by the early modern English culture in which Shakespeare lived, such that sixteenth- and seventeenth-century ideas about religion, politics, gender and sexuality, global exploration, and economics can contribute to an understanding of these literary works. Students will engage with the works of Shakespeare through written, oral, and multimedia pathways to produce rhetorically sound essays and literary analyses that demonstrate an understanding of both the text and the context of Shakespeare’s works.

Required Texts The Norton Shakespeare: Essential Plays * The Sonnets, 2nd ed. (Stephen

Greenblatt et al., eds.); ISBN: 039393313XEvaluation methods

Major assignments for this course include a group performance project, two papers, and the final exam. Active participation from each student accounts for a significant proportion of the final course grade and includes attending class regularly, listening to the weekly recorded lectures and taking quizzes over them, and participating in both online and classroom discussion of the works we read.

ENG L322-01: English Literature 1660-1789TR 4:30-5:45 P.M. M. L. Stapleton Call No. 23942P: ENG W233 or ENG L202 or equivalent. Students who elect this course in the “long eighteenth century” will study English poetry, drama, and intellectual history from the Restoration to about 1740, with some glances back at the Revolutionary period and ahead to Dr. Johnson. We will concentrate on some canonical writers (Dryden, Swift, Pope), the cavalier lyrical tradition and its excesses (Marvell, Cowley, Waller, Rochester), emerging women writers (Philips, Finch, Behn), drama (Wycherley, Congreve) as well as the notion of “enlightenment” (Locke, Hobbes, Astell). Analytical, argumentative, and research writing in the discipline will also be a frequent topic.

Required Texts Greenblatt, et al., ed., The Norton Anthology of English Literature, 9th ed., Vol

C: The Restoration and Eighteenth Century (ISBN 0-393-92719-9) Ogden, ed., Wycherley, The Country Wife (ISBN: 978-0-393-91251-7)

Evaluation methods Undergraduate students can expect to write two short (5-7 pp.) out-of-class

essays, and to sit for two essay examinations

ENG L346-01: 20th Century British FictionTR 3:00-4:15 P.M. L. Whalen Call No. 22852P: None. There was a certain awe in his tone. There was someone out there operating in a new context. They were being lifted into unknown areas, deep pathologies. Was the cortex severed? They both felt a silence beginning to spread from this one. They would have to rethink procedures. The root of the tongue had been severed. New languages would have to be invented.

Eoin McNamee, Resurrection Man

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This quote from Northern Irish writer Eoin McNamee provides a good starting point for our semester’s exploration and deconstruction of “British fiction.” Even among canonical works, the sureties of nation, language, and literary form suggested by the course title (imposed by IPFW via the course catalogue) quickly prove to be unstable. Indeed, within the British Isles there is an immense diversity: Northern Ireland, Wales, Scotland, and the Isle of Man are just four regions within “Great Britain” that possess their own indigenous languages and cultures that are distinct in important ways from that of England and the imperial centre of London—and this before we consider the far-flung British colonies in Asia and Africa, as well as immigrants to the imperial centre from those places. Conrad, for instance, was a Polish national who learned English relatively late in his life. As we shall see, there is more to “British fiction” than those works produced within England itself. In fact, it could truthfully be said that the history of English literature is inextricably bound to colonization, patriarchy, violence, and discontent, and as such we will be examining the historical moments that produced these works in some detail. Literature does not exist in a vacuum: it is molded by culture and perception, and this frequently manifests itself consciously and unconsciously in the texts. In differing ways each text explores imperialism, ideology, race, gender, social class, and cultural hybridity. Many contemporary writers find it necessary to rework expected linguistic conventions to find a mode of expression suitable to their purposes (as we will see in Woolf and Welsh). Like the African-American author James Baldwin, these authors push, manipulate, and sometimes defy the rules of standard English in order to make the language “bear the burden” of their experience. In short, we will examine the manner in which these writers work within, outside, and even deliberately against traditional literary form and purpose (as manifest in the Bildungsroman tradition, for example).

Required Texts Adams, Gerry. Cage Eleven. Dingle: Brandon, 2002. Carter, Angela. The Bloody Chamber. NY: Penguin, 1979. McNamee, Eoin. Resurrection Man. New York: Picador, 1995. O’Brien, Flann. The Third Policeman. Chicago: Dalkey Archive P., 1967. Ramazani, Jahan and Jon Stallworthy eds. The Norton Anthology of English

Literature: The Twentieth Century and After. Vol F. 9th Ed. NY: W.W. Norton & Co., 2012.

Welsh Irvine. Trainspotting. NY: W.W. Norton & Co., 1996. Woolf, Virginia. To the Lighthouse. NY: Harvest/Harcourt, 2005.


ENG L354-01: American Lit Since 1914TR 10:30-11:45 A.M. M. Kaufmann Call No. 23943Twentieth Century America begins with a country that was still recovering from a civil war and another subduing colonial powers from abroad while dominating the Native population to assert its own imperial ambitions at home and internationally. The population was swelling in urban areas due to technological developments (electricity, mass transit, telegraph, telephone, etc.) and immigration, resulting in a much more heterogeneous population and the resultant friction from such diverse

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groups. American literature necessarily articulates and reflects these diverse influences and tensions, which we’ll work to read.

Required Texts: Faulkner, As I Lay Dying Hemingway, In Our Time Hurston, Their Eyes Were Watching God Williams, A Streetcar Named Desire Short stories--Chopin, Chestnutt, Cather, Anderson, Porter, Welty, O’Connor,

etc. Poetry--Ezra Pound, T.S. Eliot, H. D.

Exams and Assignments: Midterm and Final 5-7 page Paper (10-12 pp. for Graduate students)

ENG L355-01: American Fiction to 1900 TR 3:00–4:15 P.M. A. Kopec Call No. 22932P: W131 or equivalent. This class will address key authors, texts, and movements of American literature to 1900. Beginning with the fledgling fiction of a fledgling new nation and concluding with the advanced expressions of realism and naturalism, we will track the dynamic evolution of fiction across the 19th-century in the U.S. In doing so, our class will be organized around a loose theme of “the misfit.” Indeed, fiction itself was something of a misfit in the early republic, as pastors, politicians, and business leaders loudly decried its apparent lack of utility. Perhaps unsurprisingly, then, much prominent American literature, from early sentimentalism to Romanticism to Realism and Naturalism, explored the tensions between literature and society, between, art and utility, and between integrity and profit. Authors will likely include Hannah Webster Foster, Washington Irving, Edgar Allan Poe, Herman Melville, Nathaniel Hawthorne, Rebecca Harding Davis, Henry James, Mark Twain, Charles Chesnutt, and Kate Chopin. Requirements will likely include close reading and active participation, a mix of short and long written assignments, a midterm and a final exam. This course will be useful to students interested in the formal and thematic evolution of American fiction, the relationship between history and literature, and various critical approaches to literary study. ENG L355 can count toward the American literature requirement in the Core and the Literature Concentration or the Elective requirements. Please stop by LA 133 or email me ([email protected]) with questions about the course.



ENG L369-01: John Donne: Devotional PoetsTR 10:30-11:45 A.M. H. Aasand Call No. 21930P: None. “He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain


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them with the softnesses of love . . . “ Though John Dryden and Samuel Johnson turned their backs on the devotional poets of the 17th century, lamenting the harshness and violence of the images and verbal discordance, our own age has resurrected them and found in them an intellectual richness and visceral throttling of our senses. We will examine poets as dogmatically distinct as John Donne, George Herbert, Richard Crashaw, and Andrew Marvell. This course will provide you with a pre-1700 British Literature experience that will leave you gasping for more . . .

Required Texts George Herbert and the Seventeenth-Century Religious Poets. Ed. Mario A. Di

Cesare. W.W. Norton, 1978. John Donne’s Poetry. Ed. Donald R. Dickinson. W.W. Norton, 2007.


ENG L369-02: The Image in Contemporary American Poetry: The Legacy of Stevens and WilliamsMW 3:00-4:15 P.M. G. Kalamaras Call No. 24050P: ENG L202 or ENG W233 or Equivalent. This course focuses on an intensive study of the image in contemporary American poetry and the various ways it manifests in the work of several important poets. We will consider the often-cited claim that two basic streams have influenced contemporary American poetry, Wallace Stevens’ focus on the “imagination” and William Carlos Williams’ attention to the “concrete world” (i.e., “no ideas but in things”). No prior knowledge of Stevens and Williams is necessary. We will begin by examining their theories and poetry. From there, our focus will be the work of several significant contemporary poets, including Richard Hugo, Adrienne Rich, James Wright, and several others, with a close examination of how these poets treat the “image.” In the process, we will consider the poetics of Stevens and Williams and the above claim (particularly within the context of social and cultural considerations), complicating and enriching our understanding of “influence” and the development of the “image” in contemporary poetry. The course will introduce you to a variety of forms and techniques of contemporary American poetry, developing your critical skills in understanding and responding to poetic texts.


Evaluation methods Assignments will consist of weekly written responses to the readings, a

reflective journal, short critical paper, a longer research paper, a midterm exam, and perhaps an oral report

ENG L371-01: Critical Practices: Theoretical Insurrections (The Revolution Will Be Theorized)TR 1:30-2:45 P.M. L. Whalen Call No. 23253

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P: None. This class will center on the work of theorists whose projects are self-consciously insurrectionary in literary, social, and political terms. We will explore the intersections of literature and power, writing and empire, and language and agency, studying texts from a variety of eras and nations, from Romantics such as Wordsworth and Shelley (who saw poets as “the unacknowledged legislators of the world”), to the radical social science of Marx and Engels, to contemporary postcolonial theorists such as Said and Spivak. In what ways are minds and literature colonized, not just physical territory? Along the way we will examine issues of gender, investigating the “doubly colonized” status of women in postcolonial settings. In addition, we will scrutinize the “language issue” faced by colonized peoples: can the language of the colonizer “bear the burden” of a colonized person’s experience as writers like James Baldwin and Chinua Achebe insist? Or are Ngũgĩ wa Thiong’o and Nuala Ní Dhomhnaill correct in their assertion that indigenous languages must always be the vehicle of indigenous expression? Or, as suggested by Belfast poet Gearóid MacLochlainn, is there potentially a third, hybrid path that synthesizes these two perspectives? Because they provide such interesting case studies of these issues, in addition to theoretical writings we will also be analyzing some literary works produced in colonized settings, including prose and poetry by authors from contemporary Northern Ireland, Nigeria, as well as Native American reservations in the United States.

Required TextsComplete texts TBA, but will include:

Achebe, Chinua. Things Fall Apart. NY: Anchor, 1994. Ashcroft, Bill, Gareth Griffins and Helen Tiffin, eds. The Post-Colonial Studies

Reader. 2nd ed. New York: Routledge, 2005. Selections from the theoretical writings and poetry of Nuala Ní Dhomhnaill

and Gearóid MacLochlainn


ENG L379-01: American Ethnic & Minority Literature (The History of the African American Novel)TR 1:30-2:45 P.M. A. Kopec Call No. 23944P: None. This class will address major texts in the history of the African American novel from its beginnings in the nineteenth-century to the present. We will begin with William Wells Brown’s Clotel (1853), a dramatic imagining of President Thomas Jefferson’s illicit slave-daughter that founds the African American novelistic tradition; we will conclude with Toni Morrison’s Beloved. As this pattern suggests, the legacy of slavery weighs heavily on this literary tradition, but the texts on the syllabus -- as work by Charles Chesnutt, Zora Neale Hurston, and Ralph Ellison suggest -- examine a range of themes beyond the peculiar institution, ranging from social reform to romantic love. This course counts toward the American literature requirement in the Core and Literature Concentrations. Please stop by LA 133 or email me ([email protected]) with questions about the course.



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ENG L390-01 & 02 & 03: Children’s LiteratureTR 10:30-11:45 A.M. L. Roberts Call No. 21180TR 12:00-1:15 P.M. L. Roberts Call No. 21179T 6:00-8:45 P.M. L. Roberts Call No. 24052P: None. This course is designed for anyone planning on a career as children’s librarian, elementary education teacher, or children’s author/illustrator, as well as anyone with an interest in the rich and varied literature composed for or set aside for children. We will consider how definitions of childhood have changed over time and how such changing definitions have shaped what adults have thought children should and should not read; how the purposes for children’s literature have changed and what benefits adults have thought children would derive from their reading. We will read literature of different genres: picture books, poetry, traditional literatures, historical fiction, realism, fantasy, etc. Readings may include picture books by Maurice Sendak and others, comparative fairytales, Lewis Carroll’s Alice’s Adventures in Wonderland, Richard Peck’s A Year Down Yonder, and Sharon Creech’s Walk Two Moons. Format: Lecture/discussion, workshops, projects, quizzes, midterm and final exam.



Undergraduate WritingENG W203-03: Creative Writing - PoetryMW 1:30–2:45 P.M. C. Crisler Call No. 23947P: W131 or equivalent. This class we will emphasize the practice and development of poetry writing. This class introduces you to forms and techniques that will help you begin to process poetic composition, which will enable you to understand the origin of your own poetic processes. We will read a lot of poetry as well as write a lot of poetry, all the while reading, commenting, and discussing the writing of your peers, as well as the writing from our readings and handouts. You will develop skills to compose, understand, and respond critically to poetic texts.


Evaluation methods Writing assignments: poems, journals, peer responses, self-evaluations, in-

and out-of class exercises, readings; attendance and participation.

ENG W203-04: Creative Writing - Poetry

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MW 6:00–7:15 P.M. C. Crisler Call No. 21858P: W131 or equivalent. This class we will emphasize the practice and development of poetry writing. This class introduces you to forms and techniques that will help you begin to process poetic composition, which will enable you to understand the origin of your own poetic processes. We will read a lot of poetry as well as write a lot of poetry, all the while reading, commenting, and discussing the writing of your peers, as well as the writing from our readings and handouts. You will develop skills to compose, understand, and respond critically to poetic texts.


Evaluation methods Writing assignments: poems, journals, peer responses, self-evaluations, in-

and out-of class exercises, readings; attendance and participation.

ENG W203-05: Creative Writing - FictionTR 12:00–1:15 P.M. M. Cain Call No. 22164P: None. This course will introduce you to a variety of ways of writing and reading short fiction. You will learn how to generate ideas for writing through reading and listening to stories, draft short pieces, and revise and edit those works. You will, perhaps most importantly, be invited to explore the process of how language creates meaning, to "play" with words and reflect upon the choices in meaning that such play makes possible.


Evaluation methods Requirements include a final portfolio of at least two revised, edited stories

generated from class assignments and an introductory reflection. Weekly assignments and participation also count towards the final grade. Some readings are required; these will be posted on Blackboard.

ENG W234-01 & 02: Technical Report WritingTR 12:00–1:15 P.M. S. K. Rumsey Call No. 21861TR 1:30–2:45 P.M. S. K. Rumsey Call No. 21952P: None. English W234, Technical Report Writing, has two purposes: (1) to help you develop communication skills you will use in the future, and (2) to enrich your understanding of the roles that writing and reading play in activities outside school, particularly the workplace. In other words, W234 is a course to help you write in a variety of situations and to a variety of readers. The course includes an introduction to technical graphics. This course is also an imperative part of engineering and technology education as defined by the Accreditation Board for Engineering and Technology (ABET).

Required Texts

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Johnson-Sheehan, R. Technical Communication Today, 4th ed. (2014) ISBN:978-0-205-17119-4.


ENG W303-01: Writing PoetryMW 6:00-7:15 P.M. G. Kalamaras Call No. 23949For English majors meets writing requirement. P: W203 (in poetry) or submission of acceptable manuscript to instructor in advance of registration. Focus on the practice and development of poetry writing, emphasizing the composition and discussion of student texts. You not only write and revise a substantial amount of poetry, but you also read and comment on the writing of class members and poets from class texts, developing your critical skills in composing, understanding, and responding to poetic texts. Class time will include discussion of peer work, close examination of poetry from texts, informal writing, and exercises to generate and revise work.


Evaluation methods Several writing assignments: poems, exercises, peer responses, journal,

reflective self-evaluations, and a poetry chapbook (ca. 18-20 pages of poetry). Outside reading.

ENG L331-02 & 03: Business and Administrative WritingWF 12:00-1:15 P.M. K. White Call No. 21432WF 1:30-2:45 P.M. K. White Call No. 21513P: W131 or equivalent. English W331 is the study of the principles and practices of business writing, with an emphasis on style, organization, and conventions appropriate to different kinds of business communications. In this course, you will learn how to apply rhetorical principles, such as audience, purpose, and context, in order to compose persuasive messages in various genres. You will also learn how to respond to and edit documents produced by others in the class. This course is different from others classes that employ a standard lecture format. English W331 is modeled after a workplace environment in which close collaboration with coworkers is expected.

Required Texts Locker, Kitty O. Business and Administrative Communication, 11th edition

available via Connect.Evaluation methods

Students will develop resumes, write memos, letters, electronic messages, as well as prepare oral presentations. There will be one cumulative exam. The final project is a formal recommendation report.

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ENG L331-04I: Business and Administrative WritingOnline J. Stewart Call No. 21938P: W131 or equivalent. This course addresses the varieties of genres and audiences students may encounter in a business or administrative environment. Additionally, the course investigates and analyzes how social media is infiltrating the business and administrative world. Students will investigate how their writing can be used to inform or influence within an organizational setting. Collaborative writing, and all its joys and pitfalls, will be a component of his course as well.

Required Texts Searles, George. Workplace Communications: The Basics. 6th edition.

Evaluation methods A business writing portfolio, portfolio proposal, and collaborative project

ENG W331-05I & 06I: Bus & Admin WritingTBA E. J. Keller Call No. 21967 TBA E. J. Keller Call No. 22796P: None. Business writers face complex rhetorical situations. In business, even the briefest email carries ramifications—whether ethical or economic, personal or professional. English W331 engages these complexities and ramifications through a study of the principles of business communication. This course will focus on the importance of audience, purpose, and context, so that you will be able to communicate effectively in a variety of formats for multiple audiences. During this course, you will have the opportunity to compose in different genres such as resumes, letters, emails, memos, and reports. This course is different from others classes that employ a standard lecture and discussion format. English W331 is modeled after a workplace environment in which professionalism and close collaboration with coworkers is expected.



ENG W422-01: Creativity and CommunityTR 3:00-4:15 P.M. M. Cain Call No. 22860P: None. This course addresses questions about what it means be creative—as writers, scholars, teachers, workers, and citizens—and how to claim/create the necessary spaces for expressing ourselves and the various communities we claim, or that claim us, as participants. The main purpose of the course is to learn how to claim/create a public space where your creativity can find expression and where you are able to most fully represent your individual and collective identities. As part of this project, we will aim to develop each participant’s creativity—whether as writer-artists, teachers, scholars, professionals, and/or citizens. We will also locate the role of creative thought, action, and form as something central to scholarly and creative inquiry, learning and teaching, and everyday living. Finally, participants will have first hand experience exploring the creative tensions and challenges

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presented by claiming/creating public space--its limitations as well as enabling possibilities that each person must write, think, and live with and through.

Course GoalsThe following goals reflect what I think is important for us to learn together. However, I expect that you will have your own goals, and I hope to help you realize those as well.

To create public spaces for creative/critical thought and action To recognize and creatively reframe binary oppositions of thought and

language To work with and against the “enabling constraints” of various forms of

discourse To learn how to make good use of diversity and difference as the necessary

“friction” of creativity To shape writerly identities that foster both personal growth and social

change. To understand how discourse is shaped by specific spaces and places and

how those assist and/or disrupt community formation. To write yourselves into forms, identities, and spaces that matter to you and

that will bring you into deeper engagement with diverse communities.


Evaluation methods Two short papers (about five pages each; genres will be both critical and

creative) on 1) divergent theories/practices of community and public space and 2) one’s own views of creativity (10% each) and:

Final public project. This project can be scholarly, creative, professional, civic or a mix (45%)

Weekly assignments on Blackboard discussions (15%) Six weekly entries of 600 words/week to a weblog (blog) for the first six

weeks of class(5%) Presentation of final project to class (5%) Active participation in class (10%) Final exit conference to discuss semester’s work (required)

ENG L425-01: Research Methods of Professional WritersMW 1:30-2:45 P.M. J. Stewart Call No. 23238P: None. Professional writers—academic and beyond—have a variety of methods and methodologies available to them. Navigating the terminology and procedures associated with theoretical and empirical research can be, at best, daunting. In this course, we will define and describe the types of research methods and methodologies available to writing researchers. Students will 1) understand and articulate the difference between empirical and theoretical research, 2) survey and critically investigate research on the writing studies research methods and methodology, 3) describe and assess how the current disciplinary understanding of empirical and theoretical research informs and challenges disciplinary norms, and

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4) learn and use a variety of empirical methods to design and carry out an empirical research project.

Required Texts MacNealy, M. (1999). Strategies for Empirical Research in Writing. New York:

Longman. Nickoson, L. and M. Sheridan. (2012). Writing Studies Research in Practice.

Carbondale & Edwardsville, IL: Southern Illinois University Press. Saldaña, J. (2013). The coding manual for qualitative researchers. Thousand

Oaks, CA: Sage.

Evaluation methods ENG W425 assessments will include (but are not limited to) an interactive

blog, a research analysis report, a researched project, discussion leadership, and various miniprojects. ENG C625 assessments will include (but are not limited to) an interactive blog (including blog leadership), a research analysis report, a methodological trace, a researched project, discussion leadership, and various miniprojects.

ENG W367-01: Writing for Multiple MediaTR 3:00–4:15 P.M. S. K. Rumsey Call No. 24053P: None. This class will involve students in thinking about, understanding, and producing new media compositions that center on digital film, image, and sound production. It will give students practical experience producing and engaging a variety of integrated-media texts and the situations that call for these types of texts. Students will propose and direct the details of their participation according to their individual goals, interests, and professional futures. The main projects will include writing in digital-video, creating integrated-media tutorials, and delivering live, multimediated presentations.

Required Texts Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid

Economy. New York: Penguin, 2008. ISBN 978-1594201721. Williams, Robin. Non-designer’s Design Guide, 3rd Ed. New York: Peachpit,

2008.ISBN 978-0321534040.


ENG W397-01: Writing Center Theory & PracticeMW 4:30–5:45 P.M. E. J. Keller Call No. 22950 P: None. Writing Center Theory and Practice is designed to examine the techniques and theories that inform the practice of tutoring writing. In particular, this course will train you to tutor writing in the Writing Center at IPFW, as well as other tutoring spaces across campuses, age levels, and wider communities. The course will focus on the practical components of writing center work, and how these methods can be applied across other academic and professional settings. Specific topics will include collaborative learning, consultation approaches, consultant roles, grammar

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instruction discussions, consulting strategies for a variety of clients (on campus and in the community), computer and other technology usage in the writing center, composition and learning theories that influence writing center work, and resource development.



ENG L398-01 & 02: Internship in WritingTBA K. White Call No. 21974TBA K. White Call No. 22335P: None. Although classroom experiences can teach you many things about writing, they cannot teach you everything. An internship offers you the opportunity to work with a faculty supervisor and a workplace mentor to gain a rich learning experience in which you network and develop skills as an experienced writer.

To earn course credit, you will work under the direction of a mentor at your internship and the faculty supervisor IPFW's Department of English & Linguistics. Contact Dr. Kate White [email protected] to find an internship or with any questions.


Evaluation methods working as an apprentice in a position that requires significant amounts of

written communication maintaining a journal in which you reflect regularly on your experiences writing a formal report on your work included in a job portfolio

ENG W405-01: Writing Prose Nonfiction MW 3:00–4:15 pm C. Crisler Call No. 21743P: ENG W233 or equivalent. Creative Nonfiction has been termed “the fourth” genre, outside the more known genres of poetry, fiction, and nonfiction. Yet, it uses elements from the three above-mentioned genres, along with its most important attribute, “truth,” to help establish its distinction as a genre that continues to push boundaries, and stand on its own. Due to creative nonfiction (CNF) blurring the lines by using such elements as “narrative,” “voice,” and “struc-ture” from the other three genres, but maintaining truth as its foundation, it will encompass many forms: nature and science, culture and society, creativity and the arts, place, portrait, memoir, process analysis, segmented writing, and literary journalism.

In this course, students will critically think and use collaborative methods with peers to develop and understand the complexity that is involved with writing creative nonfiction. Students will read examples from the text, handouts, and examine and explore through class and peer assignments which of the forms they will choose when creating and compiling their portfolio. While this is not a beginning class, it is

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not necessary to have previous experience writing within this genre, as long as the student has developed her/his overall abilities as a writer and reader in other forms.



ENG W462-01: Digital LiteraciesTR 12:00-1:15 P.M. J. Stewart Call No. 23951P: None. What does it mean to be digitally literate in the 21st century? In this course, we will investigate how we manage the technologies that shape and influence our lives. More importantly, we will examine how these technologies have created hyper-literate, hyper-productive writers in an age in which some cry out that writing is being marginalized or degraded. Throughout the semester, we will ask ourselves what it means to be a producer and consumer of media in this changing landscape, how these definitions influence our notions of literacy and participation in modern culture, and how access influences literacy and the notion of success and social mobility.

Required Texts Carr, N. (2011). The Shallows: What the Internet Is Doing to Our Brains. New

York: Norton. ISBN 978-0-393-33975-8 Shirky, C. (2008). Here Comes Everybody. London: Penguin. ISBN:

0143114948 Selfe, C. (1999). Technology and Literacy in the 21st Century: The

Importance of Paying Attention. Carbondale, IL: Southern Illinois UP. ISBN: 0809322692

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York UP. ISBN: 0814742815

Gee, JP, and E. Hayes. (2011). Language and Learning in the Digital Age. New York: Routledge. ISBN: 9780415602778


blog, an autoethnography, a researched project, discussion leadership, and a presentation. ENG C682 assessments will include (but are not limited to) an interactive blog (including blog leadership), an autoethnography, a social media analysis, a researched project, discussion leadership, and a presentation.

ENG W490-01: Editing of Creative WorksMW 4:30-5:45 P.M. S. Sandman & C. Carosella Call No. 24034P: None. This course will focus on production and editing of creative works—both from the point of view of the editor and from the point of view of the writer. Students will be encouraged to work from and with their own manuscripts to learn editing techniques and tips for publishing and marketing a creative manuscript. The course will be project-based and portfolio based with the hope that students are

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submitting their work by the end of the course and/or creating a portfolio for professional writing jobs.



ENG W490-02: Reading and Writing Science FictionR 7:30-10:15 P.M. S. Amidon Call No. 23952P: None. In this course we will be defining science fiction rather broadly to include multiple genres of imaginative literature. Whether you are interested in writing novels like The Hunger Games, short stories, scripts for video games, or even graphic novels, you will find this course useful. We will read and learn from a very interesting, and very visual text, but we will also be reading and critiquing each other’s work in this class.

Required Texts Jeff Van der Meer’s Wonderbook

Evaluation methods 6 creative pieces (short stories, novel chapters, scripted scenes, storyboards,

etc.) which will be workshopped with your fellow students. 4 pieces selected from the above 6 which will be revised and critiqued a

second time. 10 Journal Entries.

FilmFILM K101-01I: Introduction to FilmOCIN M. Kaufmann Call No. 23810After completing the course, you should know and understand the main elements of narrative film (editing, mise-en-scene, cinematography, etc.), the main aspects of the Hollywood style and studio system, and see how film reflects and refracts culture. The films we’ll discuss will come from films classic and contemporary, predominantly from the U.S., but not neglecting those from abroad.

Required Texts Petrie, The Art of Watching Films

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Evaluation methods Numerous Quizzes on film terms Midterm and Final Short Scene Analysis

Graduate LinguisticsCLAS L512-01: Methods & Materials in TESOL IIR 6:00-7:15 P.M. A. Macomber Call No. 22115P: Methods and Materials in TESOL I. This course aims at broadening course participants’ understanding of principles and practices of course planning, assessment and materials development for ENL instruction. Building on topics covered in the course Methods and Materials for TESOL I, we continue to examine effective instructional approaches and practices with an emphasis on developing reading and writing skills in English as a new language as well as effective and supportive instructional strategies for academic success. In addition, this course intends to promote course participants’ awareness and skills for culturally inclusive instruction. Course requirements include online discussion, assignments, learner needs analysis, and materials development project with lesson plans for a teaching unit.


Evaluation methods Journals, discussions, assignments, and project

LING L532-01: Second Language Acquisition W 4:30-7:15 P.M. S. Bischoff Call No. 21697P: None. An introduction to second language acquisition which incorporates various approaches, theories, and disciplines to better understand the diverse fi eld of second language acquisition studies.

Required Texts Introducing Second Language Acquisition, 2nd edition. Murieal Saville-Troike.

Cambridge University Press ISBN 9781107648234Evaluation methods

To be announced

LING L619-01: Language and Society T 4:30-7:15 P.M. S. Bischoff Call No. 22215P: None. : A general introduction to sociolinguistics, for the nonspecialists. Topics covered include regional and social dialects, the politics of language use in social interaction, language and social change, and men’s and women’s language, as well as issues in applied sociolinguistics such as bilingualism and African American Vernacular English in Education.

Required Texts

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None (Assigned readings will be provided)


Graduate LiteratureCLAS L501-01: Professional Scholarship in LiteratureW 6:00-8:50 P.M. T. Bassett Call No. 23954P: None. The purpose of this course is to introduce you to the materials, tools, and methods of literary research. We will examine the history of the book in the west, the history and use of literary archives, the fields of bibliography and textual studies, and the practices of literary history among other topics. In addition to these methods and methodologies, we will discuss professional practices such as the peer-review process, conference attendance, and professional development.


Evaluation methods Evaluation will be based on class participation, reports, annotated

bibliography, and final project.

CLAS D600-01: History of the English LanguageTR 3:00-4:15 P.M. D. Fleming Call No. 21940P: None. HEL covers the development of the English language from its Indo-European roots and Germanic cousins, through Beowulfian Old English, Chaucer’s Middle English, Shakespeare’s Early Modern English all the way to the diversity of varieties of English in the world today, from Scots to Australian, African-American to British, Hoosier to Brooklyn.


Evaluation methods Two online projects; translation assignments; quizzes; midterm and final

ENG B625-01M: Major Plays of ShakespeareM 1:30-2:45 P.M. R. Hile Call No. 23296OCIN (Hybrid)P: L202, W233, or equivalent. In this course, students will develop a familiarity with the language, style, thematic, and genre choices characteristic of the works of William Shakespeare by focusing on seven plays: A Midsummer Night’s Dream, Much Ado about Nothing, Othello, Macbeth, Henry V, Richard III, and The Winter’s Tale. Students will consider the works of Shakespeare as shaped by the early modern English culture in which Shakespeare lived, such that sixteenth- and seventeenth-century ideas about religion, politics, gender and sexuality, global exploration, and economics can contribute to an understanding of these literary works. Students will engage with the works of Shakespeare through written, oral,

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and multimedia pathways to produce rhetorically sound essays and literary analyses that demonstrate an understanding of both the text and the context of Shakespeare’s works.

Required Texts The Norton Shakespeare: Essential Plays * The Sonnets, 2nd ed. (Stephen

Greenblatt et al., eds.); ISBN: 039393313X

Evaluation methods Major assignments for this course include a group performance project, two

papers, and the final exam. Active participation from each student accounts for a significant proportion of the final course grade and includes attending class regularly, listening to the weekly recorded lectures and taking quizzes over them, and participating in both online and classroom discussion of the works we read.

ENG B635-01: English Literature 1660-1789TR 4:30-5:45 P.M. M. L. Stapleton Call No. 23955P: ENG W233 or ENG L202 or equivalent. Students who elect this course in the “long eighteenth century” will study English poetry, drama, and intellectual history from the Restoration to about 1740, with some glances back at the Revolutionary period and ahead to Dr. Johnson. We will concentrate on some canonical writers (Dryden, Swift, Pope), the cavalier lyrical tradition and its excesses (Marvell, Cowley, Waller, Rochester), emerging women writers (Philips, Finch, Behn), drama (Wycherley, Congreve) as well as the notion of “enlightenment” (Locke, Hobbes, Astell). Analytical, argumentative, and research writing in the discipline will also be a frequent topic.

Required Texts Greenblatt, et al., ed., The Norton Anthology of English Literature, 9th ed., Vol

C: The Restoration and Eighteenth Century (ISBN 0-393-92719-9) Ogden, ed., Wycherley, The Country Wife (ISBN: 978-0-393-91251-7)

Evaluation methods Undergraduate students can expect to write two short (5-7 pp.) out-of-class

essays, and to sit for two essay examinations

ENG B649-01: 20th Century British FictionTR 3:00-4:15 P.M. L. Whalen Call No. 22851P: None. There was a certain awe in his tone. There was someone out there operating in a new context. They were being lifted into unknown areas, deep pathologies. Was the cortex severed? They both felt a silence beginning to spread from this one. They would have to rethink procedures. The root of the tongue had been severed. New languages would have to be invented.

Eoin McNamee, Resurrection Man This quote from Northern Irish writer Eoin McNamee provides a good starting point for our semester’s exploration and deconstruction of “British fiction.” Even among canonical works, the sureties of nation, language, and literary form suggested by

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the course title (imposed by IPFW via the course catalogue) quickly prove to be unstable. Indeed, within the British Isles there is an immense diversity: Northern Ireland, Wales, Scotland, and the Isle of Man are just four regions within “Great Britain” that possess their own indigenous languages and cultures that are distinct in important ways from that of England and the imperial centre of London—and this before we consider the far-flung British colonies in Asia and Africa, as well as immigrants to the imperial centre from those places. Conrad, for instance, was a Polish national who learned English relatively late in his life. As we shall see, there is more to “British fiction” than those works produced within England itself. In fact, it could truthfully be said that the history of English literature is inextricably bound to colonization, patriarchy, violence, and discontent, and as such we will be examining the historical moments that produced these works in some detail. Literature does not exist in a vacuum: it is molded by culture and perception, and this frequently manifests itself consciously and unconsciously in the texts. In differing ways each text explores imperialism, ideology, race, gender, social class, and cultural hybridity. Many contemporary writers find it necessary to rework expected linguistic conventions to find a mode of expression suitable to their purposes (as we will see in Woolf and Welsh). Like the African-American author James Baldwin, these authors push, manipulate, and sometimes defy the rules of standard English in order to make the language “bear the burden” of their experience. In short, we will examine the manner in which these writers work within, outside, and even deliberately against traditional literary form and purpose (as manifest in the Bildungsroman tradition, for example).

Required Texts Adams, Gerry. Cage Eleven. Dingle: Brandon, 2002. Carter, Angela. The Bloody Chamber. NY: Penguin, 1979. McNamee, Eoin. Resurrection Man. New York: Picador, 1995. O’Brien, Flann. The Third Policeman. Chicago: Dalkey Archive P., 1967. Ramazani, Jahan and Jon Stallworthy eds. The Norton Anthology of English

Literature: The Twentieth Century and After. Vol F. 9th Ed. NY: W.W. Norton & Co., 2012.

Welsh Irvine. Trainspotting. NY: W.W. Norton & Co., 1996. Woolf, Virginia. To the Lighthouse. NY: Harvest/Harcourt, 2005.


ENG B654-01: American Lit Since 1914TR 10:30-11:45 A.M. M. Kaufmann Call No. 23943Twentieth Century America begins with a country that was still recovering from a civil war and another subduing colonial powers from abroad while dominating the Native population to assert its own imperial ambitions at home and internationally. The population was swelling in urban areas due to technological developments (electricity, mass transit, telegraph, telephone, etc.) and immigration, resulting in a much more heterogeneous population and the resultant friction from such diverse groups. American literature necessarily articulates and reflects these diverse influences and tensions, which we’ll work to read.

Required Texts:

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Faulkner, As I Lay Dying Hemingway, In Our Time Hurston, Their Eyes Were Watching God Williams, A Streetcar Named Desire Short stories--Chopin, Chestnutt, Cather, Anderson, Porter, Welty, O’Connor,

etc. Poetry--Ezra Pound, T.S. Eliot, H. D.

Exams and Assignments: Midterm and Final 5-7 page Paper (10-12 pp. for Graduate students)

ENG B655-01: American Fiction to 1900 TR 3:00–4:15 P.M. A. Kopec Call No. 22853P: W131 or equivalent. This class will address key authors, texts, and movements of American literature to 1900. Beginning with the fledgling fiction of a fledgling new nation and concluding with the advanced expressions of realism and naturalism, we will track the dynamic evolution of fiction across the 19th-century in the U.S. In doing so, our class will be organized around a loose theme of “the misfit.” Indeed, fiction itself was something of a misfit in the early republic, as pastors, politicians, and business leaders loudly decried its apparent lack of utility. Perhaps unsurprisingly, then, much prominent American literature, from early sentimentalism to Romanticism to Realism and Naturalism, explored the tensions between literature and society, between, art and utility, and between integrity and profit. Authors will likely include Hannah Webster Foster, Washington Irving, Edgar Allan Poe, Herman Melville, Nathaniel Hawthorne, Rebecca Harding Davis, Henry James, Mark Twain, Charles Chesnutt, and Kate Chopin. Requirements will likely include close reading and active participation, a mix of short and long written assignments, a midterm and a final exam. This course will be useful to students interested in the formal and thematic evolution of American fiction, the relationship between history and literature, and various critical approaches to literary study. ENG L355 can count toward the American literature requirement in the Core and the Literature Concentration or the Elective requirements. Please stop by LA 133 or email me ([email protected]) with questions about the course.



ENG B660-01: John Donne: Devotional PoetsTR 10:30-11:45 A.M. H. Aasand Call No. 23281P: None. “He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love . . . “ Though John Dryden and Samuel Johnson


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turned their backs on the devotional poets of the 17th century, lamenting the harshness and violence of the images and verbal discordance, our own age has resurrected them and found in them an intellectual richness and visceral throttling of our senses. We will examine poets as dogmatically distinct as John Donne, George Herbert, Richard Crashaw, and Andrew Marvell. This course will provide you with a pre-1700 British Literature experience that will leave you gasping for more . . .

Required Texts George Herbert and the Seventeenth-Century Religious Poets. Ed. Mario A. Di

Cesare. W.W. Norton, 1978. John Donne’s Poetry. Ed. Donald R. Dickinson. W.W. Norton, 2007.


ENG L660-02: The Image in Contemporary American Poetry: The Legacy of Stevens and WilliamsMW 3:00-4:15 P.M. G. Kalamaras Call No. 24049P: ENG L202 or ENG W233 or Equivalent. This course focuses on an intensive study of the image in contemporary American poetry and the various ways it manifests in the work of several important poets. We will consider the often-cited claim that two basic streams have influenced contemporary American poetry, Wallace Stevens’ focus on the “imagination” and William Carlos Williams’ attention to the “concrete world” (i.e., “no ideas but in things”). No prior knowledge of Stevens and Williams is necessary. We will begin by examining their theories and poetry. From there, our focus will be the work of several significant contemporary poets, including Richard Hugo, Adrienne Rich, James Wright, and several others, with a close examination of how these poets treat the “image.” In the process, we will consider the poetics of Stevens and Williams and the above claim (particularly within the context of social and cultural considerations), complicating and enriching our understanding of “influence” and the development of the “image” in contemporary poetry. The course will introduce you to a variety of forms and techniques of contemporary American poetry, developing your critical skills in understanding and responding to poetic texts.


Evaluation methods Assignments will consist of weekly written responses to the readings, a

reflective journal, short critical paper, a longer research paper, a midterm exam, and perhaps an oral report. In addition to requirements for L369, B660 students will present an oral seminar report and complete an extra research paper.

ENG LB666-01 & 02 & 03: Survey Children’s LiteratureTR 10:30-11:45 A.M. L. Roberts Call No. 21804

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TR 12:00-1:15 P.M. L. Roberts Call No. 21604T 6:00-8:45 P.M. L. Roberts Call No. 24048P: None. This course is designed for anyone planning on a career as children’s librarian, elementary education teacher, or children’s author/illustrator, as well as anyone with an interest in the rich and varied literature composed for or set aside for children. We will consider how definitions of childhood have changed over time and how such changing definitions have shaped what adults have thought children should and should not read; how the purposes for children’s literature have changed and what benefits adults have thought children would derive from their reading. We will read literature of different genres: picture books, poetry, traditional literatures, historical fiction, realism, fantasy, etc. Readings may include picture books by Maurice Sendak and others, comparative fairytales, Lewis Carroll’s Alice’s Adventures in Wonderland, Richard Peck’s A Year Down Yonder, and Sharon Creech’s Walk Two Moons. Format: Lecture/discussion, workshops, projects, quizzes, midterm and final exam.



ENG B675-01: American Ethnic & Minority Literature (The History of the African American Novel)TR 1:30-2:45 P.M. A. Kopec Call No. 23929P: None. This class will address major texts in the history of the African American novel from its beginnings in the nineteenth-century to the present. We will begin with William Wells Brown’s Clotel (1853), a dramatic imagining of President Thomas Jefferson’s illicit slave-daughter that founds the African American novelistic tradition; we will conclude with Toni Morrison’s Beloved. As this pattern suggests, the legacy of slavery weighs heavily on this literary tradition, but the texts on the syllabus -- as work by Charles Chesnutt, Zora Neale Hurston, and Ralph Ellison suggest -- examine a range of themes beyond the peculiar institution, ranging from social reform to romantic love. This course counts toward the American literature requirement in the Core and Literature Concentrations. Please stop by LA 133 or email me ([email protected]) with questions about the course.



ENG B743-01: Charles DickensR 4:30–7:15 P.M. L. Roberts Call No. 23994P: None. In this seminar, we will examine six novels by Charles Dickens. We will read two early works which established his fame: Oliver Twist and Nicholas Nickleby. Then we will turn to three works from his middle period: Dombey and Son, David Copperfield, and Bleak House, and one late work, Great Expectations.


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Dickens, who was called the Inimitable and the Sparkler by his friends, fans, and sometimes foes, was a complicated man, and his novels contain great humor and great tragedy, the poignant, the comic and the grotesque often unexpectedly and profoundly mixed together. He was also one of the most well-known and recognizable public figures of the 19th century, truly an international rock star whose life and work still today appear to be extraordinary.

We will discuss various critical responses to his novels, both then and now, and look for recurring themes, images, narrative structures, and topics. Perhaps more than any other Victorian novelist, Dickens’s works were highly, if sometimes ambiguously, autobiographical. And so, to borrow from the complete title of Nicholas Nickleby, we will also spend some time looking at the “LIFE AND ADVENTURES . . . THE FORTUNES, MISFORTUNES, UPRISINGS, DOWNFALLINGS, AND COMPLETE CAREER,” of Mr. Charles Dickens.



Graduate WritingENG C515-01: Writing Prose Nonfiction MW 3:00–4:15 P.M. C. Crisler Call No. 21956P: ENG W233 or equivalent. Creative Nonfiction has been termed “the fourth” genre, outside the more known genres of poetry, fiction, and nonfiction. Yet, it uses elements from the three above-mentioned genres, along with its most important attribute, “truth,” to help establish its distinction as a genre that continues to push boundaries, and stand on its own. Due to creative nonfiction (CNF) blurring the lines by using such elements as “narrative,” “voice,” and “struc-ture” from the other three genres, but maintaining truth as its foundation, it will encompass many forms: nature and science, culture and society, creativity and the arts, place, portrait, memoir, process analysis, segmented writing, and literary journalism.

In this course, students will critically think and use collaborative methods with peers to develop and understand the complexity that is involved with writing creative nonfiction. Students will read examples from the text, handouts, and examine and explore through class and peer assignments which of the forms they will choose when creating and compiling their portfolio. While this is not a beginning class, it is not necessary to have previous experience writing within this genre, as long as the student has developed her/his overall abilities as a writer and reader in other forms.



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ENG C507-01: Writing Center Theory / PraxisMW 4:30-5:45 P.M. E. J. Keller Call No. 23229 P: None. Writing Center Theory and Practice is designed to examine the techniques and theories that inform the practice of tutoring writing. In particular, this course will train you to tutor writing in the Writing Center at IPFW, as well as other tutoring spaces across campuses, age levels, and wider communities. The course will focus on the practical components of writing center work, and how these methods can be applied across other academic and professional settings. Specific topics will include collaborative learning, consultation approaches, consultant roles, grammar instruction discussions, consulting strategies for a variety of clients (on campus and in the community), computer and other technology usage in the writing center, composition and learning theories that influence writing center work, and resource development.



ENG C513-01: Writing PoetryMW 6:00-7:15 P.M. G. Kalamaras Call No. 23932P: W203 (in poetry) or submission of acceptable manuscript to instructor in advance of registration. Focus on the practice and development of poetry writing, emphasizing the composition and discussion of student texts. You not only write and revise a substantial amount of poetry, but you also read and comment on the writing of class members and poets from class texts, developing your critical skills in composing, understanding, and responding to poetic texts. Class time will include discussion of peer work, close examination of poetry from texts, informal writing, and exercises to generate and revise work.


Evaluation methods Several writing assignments: poems, exercises, peer responses, journal,

reflective self-evaluations, and a poetry chapbook (ca. 18-20 pages of poetry). Outside reading. In addition, C513 students will also complete five extra pages for their chapbooks; lead one class discussion on a poet from our texts; complete a “public” project (ideas to be discussed in class); and compose one – two page critical reflections on the second and third of these immediately above.

ENG C567-01: Writing for Multiple MediaTR 3:00 – 4:15 P.M. S. K. Rumsey Call No. 24051P: None. This class will involve students in thinking about, understanding, and producing new media compositions that center on digital film, image, and sound production. It will give students practical experience producing and engaging a variety of integrated-media texts and the situations that call for these types of

29

texts. Students will propose and direct the details of their participation according to their individual goals, interests, and professional futures. The main projects will include writing in digital-video, creating integrated-media tutorials, and delivering live, multimediated presentations.

Required Texts Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid

Economy. New York: Penguin, 2008. ISBN 978-1594201721. Williams, Robin. Non-designer’s Design Guide, 3rd Ed. New York: Peachpit,

2008.ISBN 978-0321534040.


ENG C611-01: Writing FictionR 7:30-10:15 P.M. S. Amidon Call No. 23995 P: None. In this course we will be writing imaginative literature. Whether you are interested in writing novels like The Hunger Games, short stories, scripts for video games, or even graphic novels, you will find this course useful. We will read and learn from a very interesting, and very visual text, but we will also be reading and critiquing each other’s work in this class.

Required Texts Jeff Van der Meer Wonderbook

Evaluation methods 6 creative pieces (short stories, novel chapters, scripted scenes, storyboards,

etc.) which will be workshopped with your fellow students. ● 4 pieces selected from the above 6 which will be revised and critiqued a second time. ● 10 journal entries.● A classroom presentation based on individually assigned graduate reading. I

will meet with graduate students individually to discuss the reading.

ENG C622-01: Creativity and CommunityTR 3:00–4:15 P.M. M. Cain Call No. 22860P: None. This course addresses questions about what it means be creative—as writers, scholars, teachers, workers, and citizens—and how to claim/create the necessary spaces for expressing ourselves and the various communities we claim, or that claim us, as participants. The main purpose of the course is to learn how to claim/create a public space where your creativity can find expression and where you are able to most fully represent your individual and collective identities. As part of this project, we will aim to develop each participant’s creativity—whether as writer-artists, teachers, scholars, professionals, and/or citizens. We will also locate the role of creative thought, action, and form as something central to scholarly and creative inquiry, learning and teaching, and everyday living. Finally, participants will have first hand experience exploring the creative tensions and challenges

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presented by claiming/creating public space--its limitations as well as enabling possibilities that each person must write, think, and live with and through.

Course GoalsThe following goals reflect what I think is important for us to learn together. However, I expect that you will have your own goals, and I hope to help you realize those as well.

To create public spaces for creative/critical thought and action To recognize and creatively reframe binary oppositions of thought and

language To work with and against the “enabling constraints” of various forms of

discourse To learn how to make good use of diversity and difference as the necessary

“friction” of creativity To shape writerly identities that foster both personal growth and social

change. To understand how discourse is shaped by specific spaces and places and

how those assist and/or disrupt community formation. To write yourselves into forms, identities, and spaces that matter to you and

that will bring you into deeper engagement with diverse communities.


Evaluation methods Two short papers (about five pages each; genres will be both critical and

creative) on 1) divergent theories/practices of community and public space and 2) one’s own views of creativity (10% each) and:

Final public project. This project can be scholarly, creative, professional, civic or a mix (45%)

Weekly assignments on Blackboard discussions (15%) Six weekly entries of 600 words/week to a weblog (blog) for the first six

weeks of class(5%) Presentation of final project to class (5%) Active participation in class (10%) Final exit conference to discuss semester’s work (required)

ENG C625-01: Research Methods of Professional WritersMW 1:30-2:45 P.M. J. Stewart Call No. 23231P: None. Professional writers—academic and beyond—have a variety of methods and methodologies available to them. Navigating the terminology and procedures associated with theoretical and empirical research can be, at best, daunting. In this course, we will define and describe the types of research methods and methodologies available to writing researchers. Students will 1) understand and articulate the difference between empirical and theoretical research, 2) survey and critically investigate research on the writing studies research methods and methodology, 3) describe and assess how the current disciplinary understanding of empirical and theoretical research informs and challenges disciplinary norms, and

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4) learn and use a variety of empirical methods to design and carry out an empirical research project.

Required Texts MacNealy, M. (1999). Strategies for Empirical Research in Writing. New York:

Longman. Nickoson, L. and M. Sheridan. (2012). Writing Studies Research in Practice.

Carbondale & Edwardsville, IL: Southern Illinois University Press. Saldaña, J. (2013). The coding manual for qualitative researchers. Thousand

Oaks, CA: Sage.


blog, a research analysis report, a researched project, discussion leadership, and various miniprojects. ENG C625 assessments will include (but are not limited to) an interactive blog (including blog leadership), a research analysis report, a methodological trace, a researched project, discussion leadership, and various miniprojects.

ENG C682-01: Digital LiteraciesTR 12:00-1:15 P.M. J. Stewart Call No. 23951P: None. What does it mean to be digitally literate in the 21st century? In this course, we will investigate how we manage the technologies that shape and influence our lives. More importantly, we will examine how these technologies have created hyper-literate, hyper-productive writers in an age in which some cry out that writing is being marginalized or degraded. Throughout the semester, we will ask ourselves what it means to be a producer and consumer of media in this changing landscape, how these definitions influence our notions of literacy and participation in modern culture, and how access influences literacy and the notion of success and social mobility.

Required Texts Carr, N. (2011). The Shallows: What the Internet Is Doing to Our Brains. New

York: Norton. ISBN 978-0-393-33975-8 Shirky, C. (2008). Here Comes Everybody. London: Penguin. ISBN:

0143114948 Selfe, C. (1999). Technology and Literacy in the 21st Century: The

Importance of Paying Attention. Carbondale, IL: Southern Illinois UP. ISBN: 0809322692

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York UP. ISBN: 0814742815

Gee, JP, and E. Hayes. (2011). Language and Learning in the Digital Age. New York: Routledge. ISBN: 9780415602778


blog, an autoethnography, a researched project, discussion leadership, and a presentation. ENG C682 assessments will include (but are not limited to) an interactive blog (including blog leadership), an autoethnography, a social

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media analysis, a researched project, discussion leadership, and a presentation.

ENG C780-01: How Stories MatterT 4:30-7:15 P.M. M. Cain Call No. 22808 P: None. What is it about stories? Poet Muriel Rukeyser wrote, “The universe is made of stories, not atoms,” suggesting that we don’t simply create stories; we are stories. Some argue that we are hardwired to tell stories. Others claim that stories are merely partial, even unreliable, measures of knowing and expressing the “real” world. While many enjoy reading and writing all manner of stories, in all manner of contexts, as simply a pleasurable pastime, others want to claim more serious purposes—to cultivate empathy; to teach lessons, great and small; to change minds in ways that reason and logic cannot hope to; to organize our perceptions, and our perceptions of our perceptions, into some kind of coherence; and as a means to discover new forms of knowledge.

This class will ask questions of stories from a rhetorical and a creative/craft perspective—why we create and pass them on, what difference they make (if any), and what work they do in the world. We will study a variety of perspectives and applications of story-making within English studies but also across other disciplines and professions to try to get at what makes human beings inescapably story-making entities. We’ll also expand the definition of story to include nonverbal forms such as art and music. Furthermore, we’ll read influential, well-known, and obscure but potent stories in a variety of forms. Finally, we’ll also do some story-making ourselves, to know stories not only from the outside in, but from the inside out.

Whether you love reading stories, writing them, or theorizing about them, this course has something to offer!

Tentative reading list includes authors such as Suzanne Langer, Oliver Sacks, Clifford Geertz, Gwendolyn Brooks, Jerome Bruner, Thomas King, Margaret Burroughs, Leslie Marmon Silko, Toni Morrison.



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