1 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 2 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 3 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. 4 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. 5 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 6 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. 7 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 8 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 9 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 10 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. 11 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 12 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” 13 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.
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