Spring 2017 Undergraduate Course Descriptions

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Spring 2017 Undergraduate Course Descriptions
11618 AML2020 American Literature II
MW
12:00PM
01:15PM Welling
This course surveys major American literature from the US Civil War to the present.
12678 AML3102 American Fiction
MW
01:30PM
02:45PM Welling
The nature and development of American fiction in works by such authors as Charles Brockden
Brown, Edgar Allan Poe, Herman Melville, Mark Twain, Kate Chopin, Stephen Crane, Charles
Chesnutt, F. Scott Fitzgerald, Ernest Hemingway, William Faulkner, Richard Wright, John Steinbeck,
John Gardner, Ronald Sukenick and Joyce Carol Oates.
12679 AML3621 (GW) Black American
TR
09:25AM
10:40AM Leverette
Literature: Zora Neale
Hurston and the Harlem
Renaissance
Zora Neale Hurston grew up in the first all-black town in America—Eatonville, Florida—and this
beginning informed all of her work. In addition to being a fiction writer and play-write, Hurston was a
trained anthropologist, and her ethnographic work informs her literary writing. Dr. Nancy Levine
called Hurston’s two modes of writing “ethnographical fiction” and “fiction-saturated anthropology,”
and others have seen her work as an example of autocritography. In this class, we will explore the
written “contact zones” between these two modes of Hurston’s work. We will explore the ways
Hurston used her fieldwork in Florida, and to a lesser extent, in New Orleans and the Bahamas, as
source material for her fiction. We will begin with the assumption that, by using herself as a participant
in her fieldwork, Hurston broke the barriers between the scientific objectivity of the ethnographic
monograph and the imaginative subjectivity necessary to create literature. In so doing, Hurston created
dazzling literary work and, of herself, a dazzling personality who had significant impact on the Harlem
Renaissance and beyond.
12680 AML4242 20th Century American Lit T R
04:30PM
05:45PM Nies
In the field of American literary studies, the twentieth century ushered in a long awaited and delayed
recognition of what has always been a part of U.S. literatures, namely ethnic literary traditions that
were always present but academically unexplored. With the award in 1969 of the Pulitzer Prize for
Fiction to Kiowa scholar and author N. Scott Momaday, the Native American Renaissance was
launched. In Mexican American history, the civil rights struggle called the Chicano Movement (of the
1960s) similarly challenged scholars to investigate American history for a literature that found its roots
in the border struggle between the U.S. and Mexico. Both traditions emerge from oral literary bases
and provide challenging creative literatures based on orality and performance. Today, a host of native
authors—Leslie Marmon Silko, Sherman Alexie, Joy Harjo, among many others—offer an integrated
literature that speaks to its oral roots. In Chicano/a literatures, the hybrid natures of many of these
texts—combinations of magical realism, history, poetry, fiction, and nonfiction—also suggest patterns
of descent from oral and performative venues. This course will include works from both traditions, an
introduction to historical moments that gave rise to such literatures, and attention to media and public
representations and transformations (from film images to rap and mural art). Students will be immersed
in the critical literature as well.
11988 CLT4110
Classical Background West T R
12:15PM
01:30PM Kimball
Lit
In this course we will read some of the major Greek works, along with one Roman epic, that are part of
the classical inheritance of Western literature. We will do so in order to understand how this literary
heritage has influenced the emergence and subsequent transformation of Western consciousness in
general and Western religious thought in particular. We will also endeavor to understand how Greek
drama helped its audiences acquire the mental habits associated with reading and writing as the Greek
world adopted the new tele-technology of alphabetic communication, and how Greek literature
addresses the intellectual problems and especially the emotional challenges that arise for a polytheistic
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society as it adapts to its new communication medium, the development of which supported the rise of
a monotheism, and especially as that monotheism remains indebted to the figure and concept of Zeus.
If you would like the course syllabus, please feel free to contact Professor Kimball at
[email protected].
11162 CRW2000 (GW) Intro to Creative
MW
08:00AM
08:50AM Dale
Writing
F
11742 CRW2000 (GW) Intro to Creative
MW
12:00PM
12:50PM Dale
Writing
F
11755 CRW2000 (GW) Intro to Creative
MW
10:00AM
10:50AM Dale
Writing
F
12404 CRW2000 (GW) Intro to Creative
F
12:00PM
02:45PM
TBA
Writing
In this course, students will read works from a variety of literary genres, produce samples of work in
each genre, develop productive critiques of one another’s work within a workshop setting, and
revise at least one of their samples. This course is for students who want to develop basic skills in more
than one genre of creative writing. Gordon Rule English credit.
10905 CRW2100 (GW) Intro to Fiction
TR
01:40PM
02:55PM Pactor
Writing
10974 CRW2100 (GW) Intro to Fiction
TR
03:05PM
04:20PM Pactor
Writing
In this course, students will study the basic techniques used by both canonical and contemporary fiction
writers to build convincing and compelling worlds, characters, and plots. Students will then work to
apply those techniques to their own fiction. They will develop the skills and techniques necessary for
both a productive critique of their own and one another's fiction, and for the in-depth work of
successful revision. Gordon Rule English credit.
11003 CRW2100 (GW) Intro to Fiction
MW
01:00PM
01:50PM Pewitt
Writing
F
11004 CRW2100 (GW) Intro to Fiction
MW
02:00PM
02:50PM Pewitt
Writing
F
12391 CRW2100 (GW) Intro to Fiction
MW
09:00AM
09:50AM Pewitt
Writing
F
In this course, students will study the basic techniques used by both canonical and contemporary fiction
writers to build convincing and compelling worlds, characters, and plots. Students will then work to
apply those techniques to their own fiction. They will develop the skills and techniques necessary for
both a productive critique of their own and one another's fiction, and for the in-depth work of
successful revision. Gordon Rule English credit.
11989 CRW2201 (GW)Intro Creative NonMW
01:30PM
02:45PM
TBA
Fiction
In this course we will examine the narrative possibilities of creative nonfiction. We will explore
structure, technique and authorial presence in representative works of established sub-genres, including
literary journalism, travel writing, memoir, and the personal essay, as well as more experimental forms
like the lyric essay and collage. Students will develop skills and techniques necessary for the
productive critique of their own and one another's writing and for the in-depth work of successful
revision. Gordon Rule English credit.
10874 CRW2300 (GW) Intro to Poetry
MW
11:00AM
11:50AM Dale
Writing
F
This workshop allows students to explore together the fundamentals of the craft of poetry. Students
will learn the difference between poetry and prose, as well as the ability to identify the attributes that
make poetry a unique and expressive art form. Students will learn basic terminology and close reading
skills in order to write analyses that demonstrate precision and sensitivity to the nuances of poetic
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language. Students will read and memorize poems by master poets, whose work will be the focus of
our analysis. Learning to explicate great poetry will provide students with skills they can apply to their
own poetry, which will be the ultimate focus of this course. Gordon Rule English credit.
11181 CRW2600 (GW) Intro to
W
06:00PM
08:45PM Boka
Screenwriting
11619 CRW2600 (GW) Intro to
MW
01:30PM
02:45PM Boka
Screenwriting
This course covers the basics of the craft of screenwriting such as formatting, story structure, theme,
character arc, and more. Students will pitch movie ideas, write a treatment, outline, and learn scene
construction for a feature film. Students will be required to participate in screenwriting workshops to
further develop their own work and apply what they've learned to the development of the work of their
peers.
10875 CRW3110 (GW) Fiction Workshop
MW
03:00PM
04:15PM Ari
In this workshop, we indulge our impulses toward storytelling and fabrication. Maybe we do so in the
service of some greater truth. Maybe we do it because we can build worlds and that’s an exciting thing
to do. Maybe we do it because there is something in the human world that compels us to respond in
this remarkable way we call fiction. I don’t know. You’ll have to tell me. And while we’re talking
about it, we’ll tackle technical concerns and seek methods by which the reliable resources of
imagination can be tapped in the service of the art we make with words and sentences.
11992 CRW3110 (GW) Fiction Workshop
T
06:00PM
08:45PM Pactor
12685 CRW3110 (GW) Fiction Workshop
R
06:00PM
08:45PM Pactor
Students will share and critique drafts of their work. These critiques will help students develop a final
portfolio. Students will produce at least two substantial submissions. Students will read exemplary
fiction.
11993 CRW3211 (GW)Creative Non-Fiction M
06:00PM
08:45PM Ari
Wkshp
Creative Nonfiction, the fastest growing genre in creative writing programs across the country,
provides writers with an affinity for any genre an opportunity to broaden their scope and discover new
ways and means to tap the reliable sources of imagination in the radically subjective pursuit of their
vision of the human world. Aspiring fiction writers may explore customary and experimental narrative
structures. Student poets will find themselves at home on the terrain of the lyric essay and discover new
modes of expression for their poetic sensibilities. Budding essayists will have a chance explore their
own minds at work and play. All will have an opportunity to get out of their most comfortable places
and try their hand at writing in new and unexpected ways.
12684 CRW3310 (GW) Poetry Workshop
MW
12:00PM
01:15PM Baron
No one can teach anyone how to become a poet. That requires a way of seeing the world that is innate.
What I can do is teach you the history and craft of writing poetry, including such matters as metaphor,
lineation, rhythm, rhyme, meter, persona and form. The process, at the very least, will save you
considerable time as you work to find your own voice.In this class students who have begun writing
poetry on their own will work to improve their craft. We will read poetry and essays by poets. Students
will keep a writer’s journal write poems weekly, and assemble a portfolio with commentary on their
work.
11182 CRW3610 (GW) Screenwriting
MW
04:30PM
05:45PM Boka
Wrkshp
Screenwriting Workshop will breakdown the screenwriting process into a scene by scene, page by
page, line by line analysis. Students are expected to write, read, and critique screenplays on a weekly
basis in an effort to produce a polished screenplay by the end of the semester.
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12686 CRW3930 Television Screenwriting
M
06:00PM
08:45PM Boka
Television Writing will breakdown the screenwriting process into a scene by scene, page by page, line
by line analysis. Students are expected to write, read, and critique scripts on a weekly basis in an effort
to produce one original sitcom pilot and one original one hour drama pilot.
11164 CRW4924 Advanced Fiction
W
06:00PM
08:45PM Ari
Workshop
This course builds on CRW3930 and provides emerging writers the opportunity to hone their
individual voices and experiment with different aesthetical strategies. We will explore ways to more
effectively tap the reliable resources of imagination to generate new and extraordinary ideas. Students
will sharpen their understanding of what it means to read like writers and provide the kind of
thoughtful, expert critique that can assist their fellow authors, and themselves, in the revision process.
As well, students will be afforded the possibility to engage in daring endeavors. Want to make a book?
We can do that. Have another notion? We’ll entertain it. We will break brains over long-term goals
and consider how to deal with obstacles to a rich, varied, and sustainable writing life.
12706 ENC3250
Prof Comm: Advertising
Faulkner
12707 ENC3250
Prof Comm: Advertising
Faulkner
12708 ENC3250
Prof Comm: Advertising
Faulkner
In this course, we develop the virtues of professional communication—accountability, truthfulness and
mutual understanding. All citizens of professional communities—chemists, economists, nurses,
architects, students, teachers—use certain kinds of language to help others understand a problem (and
get others to take them seriously). In this seminar, we learn this language first-hand by reading
documents from the professions—some that I bring to the table, and others that you’ll discover on your
own. In discussing these documents, evaluating them, and responding in kind, we become more
articulate professionals, more insightful thinkers and more fluent participants in public life.
The course has three modules. Within each one, we read several professional texts related to our fields;
these pieces form the basis for each module’s final project. Writing assignments in each module
include genre analyses where we learn to “reverse engineer” the practices common to our fields. Each
writing assignment will be assessed with UNF rubrics available to you.
12709 ENC3250
Prof Comm: Business
DL
Maxey12710
Billings
Numerous surveys of business leaders conclude that while writing operates as “a threshold skill,”
“companies spend billions annually correcting writing deficiencies” (National Commission on
Writing). By the time most college graduates enter the job market, they have spent years writing in an
academic environment, yet their employers remain dissatisfied. The critical difference is this: While
professors may penetrate through their students’ surface errors and lack of clarity, business readers
demand clarity, concision, and direct, plain English style.
This intensive distance-learning class focuses, therefore, on four cornerstones of effective professional
communication: (1) Surface correctness; (2) “Plain English” style; (3) Logical, Appropriate, and
Ethical Content; and (4) Document Format and Design. Students work toward improving the quality
and content of their professional writing and familiarizing themselves with various document formats.
The coursework requires students to investigate rhetorical and visual features of communication;
research and formulate strong documents; master “plain English” stylistic skills; demonstrate
comprehension of written instructions; improve their writing’s grammatical, mechanical, and
syntactical correctness; and gain practice in the conventions of professional writing. During the term,
each student produces several professionally formatted documents/texts (correspondence, employment
materials, technical writing, case studies, etc.), and one formal online “presentation” to the class.
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12711
12712
ENC3250
ENC3250
Prof Comm: Business
F
12:00PM
02:45PM
TBA
(GW) Professional
MW
06:00PM
07:15PM
TBA
Communication
The primary emphasis of technical writing is on the basics of professional communication-research,
organization, grammar/mechanics/style. We will also pay attention to the forms of professional
communication-letters, memos, and formal and informal reports. Gordon Rule English credit.
12713 ENC3250
Prof Comm: Copy Editing
Howell
12714 ENC3250
Prof Comm: Food Writing
TR
09:25AM
10:40AM Ziegler
Through this course, students will learn and practice the craft of food writing, including but not limited
to feature and academic articles, literary food writing, food blogging, reviews, press releases, recipe
writing, and memoir. Students will learn not only how to highlight their writing skills but also how to
successfully examine the cultural, political, and historical rhetoric of food and nutrition and employ
these rhetorical tactics into their own texts.
12715 ENC3250
Prof Comm: General
Lauridsen
12716 ENC3250
Prof Comm: General
Lauridsen
The primary emphasis of technical writing is on the basics of professional communication-research,
organization, grammar/mechanics/style. We will also pay attention to the forms of professional
communication-letters, memos, and formal and informal reports. Gordon Rule English credit.
12717 ENC3250
Prof Comm: Humanities
MW
11:00AM
11:50AM Howell
F
12718
ENC3250
Prof Comm: Writing &
TR
08:00AM
09:15AM MaxeySTEM
Billings
This section of ENC 3250 addresses reading, writing, and rhetoric for STEM (Science, Technology,
Engineering, and Mathematics) fields. College-level STEM students must not only familiarize
themselves with the concepts and calculation techniques of their fields, but they also employ language
to interrogate and clarify their own thinking, to communicate their understanding, to structure their
verbal arguments, to assess and convey their problem-solving methods, and to interpret the prose
explanations they encounter in STEM textbooks and resource materials. As mathematician William
Paul Thurston explains, “Mathematics is not about numbers, equations, computations, or algorithms; it
is about understanding.” In other words, understanding a mathematical or other technical concept
means more than producing and solving equations regarding it; it also means translating that concept
into logical, natural, understandable language.
Thus, this course introduces rhetorical strategies for specific objectives: to better understand technical
texts and formats; to research and formulate strong documents; to master “plain English” stylistic
skills; to improve grammatical, mechanical, and syntactical correctness; and to translate technical
concepts into accurate, natural-language explanations. Additionally, students produce research-based
writing, as common in STEM fields, including the argumentative essay. The coursework focuses on the
writing conventions and expectations of these fields, and also examines how students might adjust their
writing to accommodate differing audiences.
10143 ENC3310
(GW) Writing Prose
TR
03:05PM
04:20PM Beasley
In ENC 3310, we will examine three of the most widely-held writing rules in American institutions in
the 21st century: that every paper must have a thesis statement, every paper may only examine one
topic, and that every paper must be free from grammar error. In short, ENC 3310 is truly an
intermediate writing course. By intermediate, I mean that it serves as a pause, a time to examine the
writing you have already done, but also a time to anticipate and identify the writing you would like yet
to do. We will examine the difference between the effect your writing has had, and the affect you would
like it to have. By taking this class, you will become critically conscious of the artifice and
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constructedness of writing in American academic institutions in the 21st century, which after many
years of uninterrupted and unexamined practice, may have become opaque or invisible to you.
12719 ENC3930
Trigger Warnings & Unsafe T R
10:50AM
12:05PM Lunberry
Spaces
There is a long and glorious tradition of writers and artists creating brutal and distressing work that is
deliberately intended to shock, provoke and “hurt” those witnessing it. Audiences seem to eat it up,
seek it out. But one might reasonably wonder why? What is the enduring appeal of such troubling and
tragic material, of its terrors and tribulations? Are we—like voyeurs at the scene of a car crash—merely
titillated on some base level to tease at the taboos, poke at the horror? Or is it somehow instructional to
stare at the sadness of others, their sufferings acted out before us, thus allowing larger lessons to be
learned, burned “in the memory”? For, as Aristotle insisted, such tragedies might still, through “pity
and fear,” offer an audience a “true tragic pleasure.” But what kind of “pleasure” could this truly be? In
this course, with the burning issue of “trigger warnings” and “safe spaces” in universities framing our
discussions, our focus will be upon the many triggering stories and unsafe spaces created in Euripides
and Seneca’s ancient depictions of Medea and Phaedra (forming our classic background), and then on
to the more modern and contemporary works of Georg Büchner, Charles Baudelaire, Bertolt Brecht,
Sarah Kane, Kathy Acker, Will Eno, Ariana Reines, and such visual artists as Hieronymus Bosch,
Bruce Nauman, Paul McCarthy and the dance/theater of Japanese Butoh.
12720 ENC4930
Style in American Lit
TR
01:40PM
02:55PM Kimball
In this course we will endeavor to understand as well as think, discuss, and write critically about style,
including about what makes the concept complex, even elusive, and above all culturally significant,
including politically as well as economically. We will do so with particular reference to the following
works: Poe’s “Fall of the House of Usher,” “The Purloined Letter,” and “Descent into the Maelstrom”;
Melville’s Moby-Dick;(Jefferson’s Declaration of Independence; Lincoln’s Gettysburg Address;
Jonathan Edwards’ “Personal Narrative” and “Sinners in the Hands of an Angry God”; Emerson’s
essays, “Circles” and “Nature”; and Whitman’s “Song of Myself.”
If you would like the course syllabus, please feel free to contact Professor Kimball at
[email protected].
12005 ENG3613
What if I Can't Be Fixed?
TR
10:50AM
12:05PM Gabbard
In this cultural studies and theory course we will read two plays (Bernard Pomerance’s The Elephant
Man, Mark Medoff’s Children of a Lesser God), two memoirs (Lucy Grealy’s Autobiography of a
Face, Stephen Kuusisto’s Planet of the Blind), novels (one will be Jillian Weise’s The Colony), and we
will screen a film (Control, about Ian Curtis of the band Joy Division), etc. Students will write short
papers, fill out simple daily reading quizzes, participate in class discussions, and master a set of key
concepts.
Optional C.B.T.L. (Community Based Transformational Learning): “Working with Children with
Disabilities.” Students enrolled in ENG 3613 are NOT obligated to take part in the C.B.T.L but are
welcome to do so if they wish. Only students enrolled in ENG 3613 may choose to participate. The
C.B.T.L will require those willing to take part to perform 20 hours of volunteer work (over the
semester) with children with disabilities at either Mt. Herman or Alden Road Exceptional Student
Centers here in Jacksonville. Those who successfully complete the volunteering and comport
themselves well can count on the professor (me) to write a strong letter of recommendation (for
graduate schools, jobs, scholarships, etc.). A volunteering experience such as this one looks great on a
resume. Besides, this C.B.T.L. will change your life for the better. I (the professor) have letters from
former students to prove it.
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10144
ENG4013
Approach to Lit
TR
04:30PM
05:45PM Kimball
Interpretation
In this course we will address such questions as: What does thinking critically about literature entail?
How does one go about such critical thinking with respect to different kinds of texts—including fiction,
drama, poetry, film, and sacred narrative? Why do such texts need to be interpreted at all, and how can
a reader know if he or she has done so expertly? How are works of literature put together? How do they
produce their possible meanings as well as their aesthetic and emotional effects? Why do literary texts
use language in the ways that they do? Why, for example, do they need metaphors? How do they refer
to other texts? How do they sometimes support and sometimes criticize the culture in which they are
written and read? What do they say that cannot be said in ordinary language? What are the advantages
and costs of different approaches to literary interpretation? We will focus on these questions in order (i)
to understand and appreciate how literary language generates all kinds of subtle, intricate, and nonobvious patterns and (ii) to practice describing and analyzing this language. If you would like the
course syllabus, please feel free to contact Professor Kimball at [email protected].
12006 ENL2012
British Literature I
MW
10:00AM
10:50AM Chapman
F
This course will survey seminal examples of British verse, drama, and prose dating from the early
Middle Ages up to the end of the 18th Century. The texts covered in this course will demonstrate how
the study and art of letters in the English language changed, and were changed by, discourses on order,
society, gender, family, law, religion and art itself. Students in this course will learn how these texts
reflect and transform their respective times and places of origin and how contemporary attitudes about
these texts and their writers have changed as well.
12007 ENL2022
British Literature II
TR
03:05PM
04:20PM Wiley
In this course, we will read, discuss, and write about British literary texts from 1800 until the present,
considering the benefits and drawbacks of categorizing literature according to the times and places in
which writers produce it. We will consider literary periods separately while also examining the
relations between them, and we will look at and question ideas of Britishness. Readings will include
poetry, prose fiction, and prose nonfiction, with an emphasis on poetry. I will not assume that all class
members have an extensive background interpreting poetry, and we will spend time (as necessary or
desired) working on interpretive strategies. We will read selections from William Wordsworth, Mary
Shelley, Elizabeth Barrett Browning, Matthew Arnold, T.S. Eliot, Katherine Mansfield, Philip Larkin,
and other writers who have changed the ways we think, talk, and write.
12366 ENL3333
Shakespeare
MW
11:00AM
11:50AM Chapman
F
This course will examine eight Shakespearean plays in literary, historical, and artistic
contexts. Students will be exposed to early modern thought, poetry, and drama. In addition, the course
will examine how this work has had profound influence on our conception of what a human being is, of
human psychology, and of human relationships. Indeed, many of these plays almost presciently
address social issues that still dominate the modern cultural landscape. Studying Shakespearean drama
in this light will increase the intellectual maturation and clarification of our own values through
examination of ideas and attitudes in literary/cultural contexts and especially through articulation of
these notions in academic discourse. Response papers and exams will help students develop skills in
verbal analysis, critical thinking, and detection of subtlety through reading, discussion, and writing
about these great works. The readings in this course will cover two comedies (THE MERCHANT OF
VENICE, MEASURE FOR MEASURE), two histories (THE TRAGEDY OF KING RICHARD II,
THE LIFE OF KING HENRY V), two tragedies (HAMLET, PRINCE OF DENMARK, MACBETH),
and two romances (THE WINTER’S TALE, THE TEMPEST).
10489 ENL3503
Periods Later British Lit
TR
03:05PM
04:20PM Wiley
In this course, we will read, discuss, and write about British literary texts from 1800 until the present,
considering the benefits and drawbacks of categorizing literature according to the times and places in
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which writers produce it. We will consider literary periods separately while also examining the
relations between them, and we will look at and question ideas of Britishness. Readings will include
poetry, prose fiction, and prose nonfiction, with an emphasis on poetry. I will not assume that all class
members have an extensive background interpreting poetry, and we will spend time (as necessary or
desired) working on interpretive strategies. We will read selections from William Wordsworth, Mary
Shelley, Elizabeth Barrett Browning, Matthew Arnold, T.S. Eliot, Katherine Mansfield, Philip Larkin,
and other writers who have changed the ways we think, talk, and write.
12722 ENL4230
Deforming the
DL
Gabbard
Enlightenment (Early
British Literature)
The Enlightenment is a cultural historian’s term for the revolutionary changes in thinking that started in
western Europe in the late seventeenth century and extended well into the eighteenth century. This
intellectual and cultural movement aimed to turn heady utopian dreams of rationality and reform into
reality. No longer would humans turn to God to solve their problems, but instead would use science to
take control of their destiny.
A major Enlightenment preoccupation was the question of what it meant to be human. In answering
this question, thinkers tried to determine what should be adopted as a common standard. The dyad of
ability and disability that emerged as a response to this question can be observed taking shape in the
imaginative literature (novels, poetry, etc.) of the time. The period’s literature in fact played a crucial
role in bringing this dichotomy into focus. This is to say that literature contributed to the social
construction of a standard of normative form, function, and performance for all humans, one that
everyone was expected to adhere to if they were to be accepted as full members of the dominant group
and not find themselves relegated to society’s margins.
To better understand how this standard of proper human form developed, the course will focus on the
portrayal of human bodies in literary texts, specifically, those that are monstrous, deformed, or
defective. Such bodies increasingly were coming to be seen less as demon possessed or as signs of
God's wrath and more as indicators of scientific pathology—as random accidents of nature. Rosemarie
Garland Thomson describes this period as witnessing "a movement from a narrative of the marvelous
to a narrative of the deviant," one in which "wonder becomes error." Readings will include Swift’s
Gulliver’s Travels, Joseph Addison’s Spectator Papers, Sarah Scott’s Millenium Hall, Edmund
Burke’s Philosophical Enquiry into the Sublime and Beautiful, two stories by Aphra Behn, and others.
Students will participate in weekly discussion boards, write short papers, and master a set of key terms
and concepts associated with literary study and disability studies. The course addresses UNF’s critical
thinking competency.
12255 FIL3006
Analyzing Films
TR
10:50AM
01:30PM de Villiers
This course introduces students to key terms for interpreting film, including important concepts and
trends in the field of cinema studies. Students will learn how to watch films with a critical eye, how to
discuss cinematic form and meaning, and how to write coherent and persuasive essays analyzing film.
This course provides an important foundation for more specialized courses in the film studies minor,
but will benefit anyone who wants to better understand how movies affect us, and how to put that
experience into words.
12724 FIL3826
American Film Survey
MW
03:00PM
05:45PM Donovan
In 1929, 85 million Americans went to the movies every week. Even today, with a much smaller figure
of 20 million a week, we all understand that movies are a large part of our collective lives. We reward
movie stars with enormous wealth, and we allow our personal styles and desires to be deeply
influenced by Hollywood. Even Saddam Hussein had a copy of Quentin Tarantino’s Pulp Fiction
(1994) in one of his palaces. Hollywood is an international industry, part of our Gross Domestic
Product, bringing in 30 billion dollars a year. To understand American Film is obviously to begin
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understanding it in the context of culture and history. In this class, we will look at the history of
American film with attention to the surrounding culture. We will also look closely at films themselves,
creating a vocabulary that allows us to engage film cinematically. By the end of the course we will be
able to discuss film by style, genre, history, and culture, as we move from Charlie Chaplin to
contemporary films. In doing so, students will do short reflective responses on the readings and films
throughout the semester.
13144 FIL4300
Documentary Studies
MW
12:00PM
02:45PM Smith
The power of documentary film lies in showing us something we don’t know how to see. The art of
documentary film lies in what it chooses to show and how. On 12/12/12 a documentary filmmaker
asked people of the world to film parts of their day so he could edit the footage into one ambitious and
entrancing film that takes the world as its topic (One Day on Earth). A new web-based documentary
(Portraits of Enemies) exhibits face-to-face portraits of enemy soldiers along with interviews in which
the subjects were asked identical questions. A digital crowd-sourced documentary project (How to
Loose Your Virginity) explores the meaning of virginity in America.
The media documentary can use is without restriction and the forms it can take are endless. There are
no rules. No rules on topic—from the Vietnam War to people who live in the subway tunnels of New
York. No rules on creator—from famous directors like Martin Scorsese to the children of
prostitutes. No rules on form—from first-person exposés (Michael Moore’s Sicko about the
exploitative business of health care) to first person-experiments (Morgan Spurlock’s eating only
McDonald’s food for 30 days in Super Size Me), from the visual poems of City Symphonies (wordless
montages of cities popular in the 1930s) to the exuberant energy of rockumentaries (Woodstock,
Metallica: Some Kind of Monster). The one common thread is that documentary uses actual life for its
raw material. This class aims to communicate the vital spirit of documentary by studying its history
and its future, its movements and its media. Written assignments and small creative assignments are
designed to increase intellectual and affective understanding of documentary’s past and its
possibilities. Those taking Documentary Production would benefit greatly from taking this
class. (There are no prerequisites. Students having difficulty registering should contact Dr. Jillian
Smith, [email protected])
12356 FIL4379
Adv. Documentary
MW
04:30PM
07:15PM Smith
Production
The art of documentary is twofold: (1) recognizing and capturing the narratives that circulate around us
every day in the real world and (2) shaping them into creative form. In this course we will lay the
foundation for this art by understanding and practicing documentary style and technique. Practicing a
range of documentary styles and narratives will open students to the creative possibilities of
documentary film, and thorough technical competency will enable them to be realized.
Students are expected to have taken Documentary Production Fall 2016, or otherwise have permission
from Dr. Smith. The semester will begin with exercises in montage, archival work, creative shotmaking, and a formal interview. The remainder of the semester will be spent executing documentaries
for public screening at the end of the semester. No prerequisites. Get on the waitlist because seats
open. Any questions, contact Dr. Jillian Smith: [email protected]. See the work of AfterImage
Documentary here: http://vimeo.com/afterimagedocumentary/videos
10660 LIT3213
Critical Reading/Writing I
MW
03:00PM
04:15PM Smith
Literary interpretation is an art. It is also a foundation for sophisticated critical thinking and writing
within history, philosophy, culture, politics, media, art, and even science. Such sophisticated thinking,
however, is grounded in basic techniques. This course is dedicated to teaching students to define,
identify, and apply basic literary tools and techniques. Metaphor, paradox, setting, point of view,
symbol -- techniques that we tend to use loosely, we will learn to use with precision and purpose. The
goal of the class is to teach you how to read literature, and thus any text, with intensity. English majors
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should run to this course (it is required); creative writers often find it invaluable; and all majors are
welcome. (This course, because of its coverage of narrative technique, fulfills the analysis requirement
for film minors.)
11165 LIT3213
Critical Reading/Writing I
TR
12:15PM
01:30PM MaxeyBillings
This course serves as the first in a two-course sequence required of all English majors. The course
introduces students to the intensity of reading by giving them the tools and habits of literary
interpretation. Students will learn the vocabulary of traditional literary techniques. This class provides a
solid foundation for the understanding of narrative and the practice of critical thought.
11621 LIT3214
Critical Reading/Writing II M W
12:00PM
01:15PM Donovan
11622 LIT3214
Critical Reading/Writing II M W
07:30PM
08:45PM Donovan
The task in this course is to relearn and redevelop the techniques necessary to read and write critically
from a literary perspective. All of us know how to read and write. We have been doing it since primary
school or earlier. This course, however, will stretch, strengthen, and reinforce the habits of that readied
development. Students in Art of Critical Reading II are expected to use their preparation from Art of
Critical Reading I, to compose coherent and cohesive analytical essays that thoughtfully put these
literary tools and techniques to work. In doing so students will be expected to compose cohesive
paragraphs, formed by analytical insights, expressed in stylish sentences that form a coherent essay.
This course is a part of a series of courses required for English majors. Majors are advised to take Art
of Critical Reading and Writing I before taking Art of Critical Reading and Writing II. Nevertheless,
any student interested in working on their literary methodology and academic writing should consider
taking this course.
12729 LIT3214
Critical Reading/Writing II T R
10:50AM
12:05PM Turney
Critical reading and literary interpretation is not merely a technical skill limited to literature texts.
Rather, it is a foundation for sophisticated critical thinking within history, philosophy, culture, politics,
media, arts, and even sciences. For we not only “read” novels, shorts stories, poems, but also films,
advertisements, textbooks, equations, weather, traffic, timelines, faces, bodies and intentions. In Art of
Critical Reading II, you will be expected to compose coherent and cohesive analytical essays that
thoughtfully put literary tools and techniques to work upon a variety of literary genres---short fiction,
poetry, literary essays, even graphic novels---as well as works of literary criticism. In doing so, you
will be expected to compose cohesive paragraphs, formed by analytical insights, supported and fleshed
with ample and probative evidence, expressed in polished and precise prose, and forming coherent
arguments.
10674 LIT3331
Children's Literature
Baron
Children's Literature incorporates three modules: picture books, fairy tales, and chapter books. This
order generally follows the developmental course of a young reader in our culture, but there are many
variations and that is one of the issues we will discuss. The readings, which range over literature,
sociology and developmental psychology are chosen to raise questions about our culture’s view of
children and the books we provide them. Should we protect children from reality or warn them of what
the world can be like? Can the beloved classic Curious George can be read as a slave narrative? Should
the three little pigs leave their story and look for a better one? We will view a TED talk entitled “The
Dangers Of a Single Story," which raises questions about whether a person in power, such as a teacher,
should present only one sort of story to a person without power, such as a child.
10146 LIT3333
Adolescent Literature
TR
12:15PM
01:30PM Baron
How does adolescence happen in our culture? In others? What is its social function? Are there
characteristic themes and subgenres in adolescent literature? Does it raise ethical issues for authors,
teachers, or librarians? Our readings will be primarily novels, but we will also read psychology,
sociology and criticism.
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12011 LIT3930
Detective Fiction
TR
09:25AM
10:40AM Wiley
This course will focus on detective fiction, starting with its roots in the Renaissance but concentrating
heavily on twentieth and twenty-first century writing. Along the way, we will consider representations
of heroes, anti-heroes, and antagonists; noir, hardboiled, locked-room, and caper settings and moods;
and other conventions of detective fiction. We will read, discuss, and write about stories by William
Shakespeare, Edgar Allan Poe, Dashiell Hammett, Walter Mosley, SJ Rozan, Paul Auster, and others.
12730 LIT4243
Major Authors: James
MW
04:30PM
05:45PM Heffernan
Joyce
This class will serve as an advanced seminar on the major works of James Joyce. We will begin with
Dubliners (1914) and A Portrait of the Artist as a Young Man (1916), then spend more than 2 months
reading Ulysses (1922) before finishing up with some portions of Finnegans Wake (1939). This class
will be of interest to many sorts of people: those interested in Irish literature and politics; those
interested in literary modernism and the modernist novel; those who have always wanted to read
Joyce's famously difficult novel, Ulysses, but have been reluctant to do so without company.
12731 LIT4930
Reading Matters
M
12:00PM
02:45PM Ziegler
Enroll in a course that "pays it forward" and that you will remember far past your graduation date. The
central question of this course explores why (and how) reading matters to our lives and hopefully your
time spent in this course will yield fascinating and complex answers. Part of the semester we meet
at Woodland Acres Elementary School to help 5th graders develop their reading skills. The
complementary component of the course will focus upon our own experience of reading. Each student
will contract with the professor to design a personal reading curriculum that matters to you: you can
use this experience to delve deeply into the work of a new or favorite author, re-examine a "classic," or
read those books that you always intended to when you had the time.
12732 LIT4934
Being Bored: Writing
TR
03:05PM
04:20PM Lunberry
Ennui (Seminar)
Boredom was discovered, or first diagnosed, in the 19th century, and its creation continues to afflict
and entertain us to this day. We have, of course, a love-hate relationship with boredom; or it (like a
virus) has a relationship with us. We just can't seem to shake it, to find a cure for this curiously modern
condition of being bored. Ever since its infectious spread, writers and artists have found boredom
irresistibly interesting as a topic, as it crops up again and again in their works. So much so that one
might wonder if boredom is a fundamental fact for being modern, a diagnosable symptom of our
tiresome and tedious age: boredom, being bored, being bored with being; or even, as the 19th-century
playwright Henrik Ibsen wrote of Hedda Gabler, of her “one real talent in life … Boring [herself] to
death.” Our focus in this class will be upon a variety of materials, from modern and contemporary
fiction, theater, poetry, and the visual arts, where boredom is often at the chilled heart of the matter,
setting in motion events that threaten at any moment to collapse beneath their own exhausting weight.
How has such boredom, such dis/ease, been represented in literature and the arts? Why did it arise and
how has it endured as a representable theme? And finally, perhaps paradoxically, how can boredom,
“radical boredom,” be such a rich, revealing and, yes, fascinating focus for writers, artists and readers
alike?
12733 LIT4934
Roland Barthes (Seminar)
R
06:00PM
08:45PM de Villiers
The critic and semiotician Roland Barthes famously declared that “The Death of the
Author” was
necessary for the birth of the reader, but later insisted that, “The pleasure of the Text also includes the
amicable return of the author.” Marking the centenary celebration of Barthes’s birth, we will examine
the extraordinary richness and mobility of Barthes’s writing on a number of objects (literature,
painting, fashion, photography, food, sports), in which he engaged different methodologies (literary
criticism, Marxism, structuralism, psychoanalysis) as well as the work of his contemporaries (Foucault,
Derrida, Kristeva). We will look at how his work shifted and “drifted” with an insistence on
foregrounding desire and pleasure. Texts may include: Mythologies, Image—Music—Text, The Rustle
of Language, The Pleasure of the Text, Camera Lucida, his best-selling A Lover’s Discourse, and his
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fascinating self-examination, Roland Barthes by Roland Barthes. This is a great course for students
who want to know more about postwar French thought and who like to read short fragments of playful
writing. Students will be required to write three short essays over the course of the semester and give a
brief presentation on a keyword in Barthes’s work.
12734 LIT4934
Women Writers (Seminar)
MW
12:00PM
01:15PM Lieberman
This course chronicles the traditions of women’s writing, focusing largely but not exclusively on
American women writers. During the semester, we will explore how writers question, resist, subvert,
and revise traditional gender roles. We will question the identity politics of classifying literature by the
gender and race of its author. We will map the topography of the publication process, studying how
women worked within or modified the industry by participating in it. We will consider the role that
women writers played as activists, helping to abolish slavery, to spark the sexual revolution, and to aid
the Black and Red Power movements. We will also read writing by gender-queer writers and debate
whether “women writers” can still be considered a valid subject of study in our current socio-political
moment.
Students will leave this class with a deep understanding of these writers: they will learn to deploy
biography, cultural and historical context, and certain aspects of theory to enrich their close readings of
well-crafted, radical prose. Every student, regardless of their gender, will leave the class with a richer
understanding of the literary marketplace and the politics of writing therein, both historically and
today.
12737 THE3110
History of Drama I
MW
04:30PM
05:45PM Menocal
In this survey of Western drama, students will read and analyze select works, both tragedies and
comedies, of Greek, medieval, Elizabethan, Jacobean, and Restoration drama. Students will reflect on
the religious, social, and political function of the theater and of drama throughout these periods; the
movement toward a more secularized theater; the developments in the architecture of theaters and their
implications for acting and the audience; and the process of institutionalizing the theater with the
construction of purpose-built theaters and the formation of acting companies made up of professional
actors.
11626 THE4524
Theatre for Social Change
TR
01:40PM
02:55PM Monteleone
This course is a hands-on, participatory workshop that introduces students to a collection of games,
techniques, and exercises for using theater as a vehicle for social and personal change. You will be
introduced to the techniques of Augusto Boal’s Forum Theatre, a revolutionary form of participatory
theater that transforms real community concerns into invigorating theatrical dialogue. The class will
create Forum performances that empower participants to collectively investigate thorny issues and
rehearse problem-solving strategies to implement in the real world. No theater experience or training is
necessary. You will be asked to bring with you a desire to play, learn, and grow in an intimate, highly
personal setting.
11628 THE4923
Theater Prod: Shakespeare
TR
04:30PM
05:45PM Monteleone
This course offers practical experience in the design and/or execution of a department production. This
semester the Department of English is producing Shakespeare’s Measure for Measure. This season’s
Measure for Measure will represent the 8th Annual Shakespeare-in-the-Park in collaboration with the
City of Atlantic Beach. Students will be involved in the practical exigencies of translating a script into
a theatrical event. They will engage in various aspects of theater production, including research,
publicity and promotion, and/or set construction, lighting, sound, and costuming. Students will be
expected to demonstrate professionalism as exhibited in communication, time-management, leadership,
organizational and teamwork skills. This course may be repeated for up twelve (12) credits. *Professor
reserves the right to change the play depending upon auditions
12738 THE4935
Doing Shakespeare for
TR
12:15PM
01:30PM Monteleone
Schools
Will you be asked to teach Romeo and Juliet? Julius Caesar? Macbeth? Do you feel prepared?
Confident? Ready? This course is for prospective teachers, actors, and anyone who loves “doing”
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Shakespeare. The goal is to put students at ease with the language. We will focus on the vocal and
physical techniques necessary to bring the characters and stories to life. Students will develop tools for
exploring heightened language, speech structure and rhythm, scansion, and phrasing, not as ends in
themselves but as a means to creating the physical, verbal, and emotional lives of complex characters.
“Words are meant to delight, to disturb and to provoke,” says Cicely Berry, “not merely make sense.”
12017 TPP2100
Acting I
F
12:00PM
02:45PM
TBA
This is a beginning course in the fundamentals of acting. Students learn a working vocabulary and
acquire basic skills of the acting process. Through formal and improvisational techniques for
developing vocal, physical, and analytical skills associated with behavior-based acting, students
explore the imagination as the actor’s primary resource for building a character. Emphasis on
relaxation, trust, and mental agility. Monologue and scene work are required.
11629 TPP4155
Theater Prod: Acting
TR
04:30PM
05:45PM Monteleone
Shakespeare
This course is for students interested in acting in a major production. This semester the Department of
English is producing Shakespeare’s Measure for Measure. This season’s Measure for Measure will
represent the 8th Annual Shakespeare-in-the-Park in collaboration with the City of Atlantic Beach. The
course will focus on preparing students for a role on stage. It includes script analysis, character
development, and vocal and movement techniques associated with acting Shakespeare. Students will
develop tools for exploring heightened language, speech structure and rhythm, scansion, and phrasing,
not as ends in themselves but as a means to creating the physical, verbal, and emotional lives of
complex characters. Students will learn the rehearsal process and living in the moment as part of an
ensemble. They will be expected to demonstrate professionalism and teamwork. A commitment to
substantial rehearsal time is required. Auditions will be held at the beginning of the spring semester.
Students interested in acting must attend auditions and be cast in a role. THE 4935 Doing Shakespeare
in the Schools and On the Stage is recommended for students auditioning for and cast in a major role.
This course may be repeated for up twelve (12) credits. *Professor reserves the right to change the play
depending upon auditions.