ENGLISH DEPARTMENT

COURSE DESCRIPTIONS

SPRING 2021

NOTE: This may not be a complete list of all English courses being
offered. *Please check MyDUSIS for the complete schedule and talk to
instructors, for descriptions of courses not listed here.
ENG 38
Literary Study
Instructor: Jeff Karnicky

This course, designed for English majors, minors, and others interested in literary study, will focus
on readers and authors. We will read novels, short stories, poems, essays, and other texts and
you will author various responses to these texts. Some of the questions we will address include:
What is the relationship between readers and authors? How do they depend on one another?
What are their respective roles in the production of meaning? How are readings produced by
readers, and, conversely, is there a way in which readers are produced by what they read? What
are the important differences between just reading something and interpreting it critically? How are
social roles and identities important in reading? Expect to do a good deal of careful reading and
writing for this class.

ENG 38
Literary Study
Instructor: Jeanette Tran
The aim of this course is to introduce students to the discipline of literary studies, and to help them
to develop as better readers, writers, thinkers and critics through intensive practice in literary
analysis, critical writing, and related research. Our questions will be big and small, theoretical and
practical. What is literature? Why should we read it? Why should we study it? What are the
different methods we can use to interpret literature? Can the tools of literary analysis be applied in
other contexts outside of the classroom?

ENG 38
Literary Study
Instructor: Elizabeth Robertson

In this course, we will examine what critics and scholars actually "study" when they read and write
about literature, what questions they ask and attempt to answer, what textual, theoretical, critical,
historical, social, ethical issues arise for people who might wish to engage in literary study.
Through reading and writing about some theoretical work, two or three novels, and some poetry
and short stories, we'll attempt to account for our various readings and understandings of texts and
contexts. In general, we are working toward making ourselves into perceptive, critical readers and
writers, able to recognize and confront the complexities of literary study.

English 39
Writing Seminar
Instructor: Megan Brown

How does learning to write at/for school affect a student’s writing? How do teachers assess
writing? How does one’s writing style vary according to audience and context? How do writers
create particular effects by using language? In this course, each of you will be asked to consider
these questions, think about yourselves as writers, decide which writing strategies work best for
you, and find (and/or develop) your voice. We will begin by reading and discussing essays by
scholars who examine the place of writing in society and the role writing plays in identity formation.
Then, we will look more specifically at a particular (but broad) genre of writing: the essay. Do not
worry: when I refer to essays, I do not mean the five-paragraph monstrosities churned out by
middle school students or the “what I did on my summer vacation” version of autobiographical
writing. Essays take many forms: autobiographical musings, research-based argumentation, and
even feature journalism, to name just a few. Indeed, essays can be a lot more interesting and
creative than most people suspect. My hope is that you will all find ways to make the essay genre
work for you.
ENG 39
Writing Seminar
Instructor: Elizabeth Robertson

Through our reading and writing in this course, we will examine closely what we think we “see” in a
text—the one we are reading or the one we are writing. To what extent is our “seeing” based on
prior knowledge and expectation? To what extent does conventional language (cliché?
commonplace?) enable us to see, or prevent us from seeing “what is there”? Cliches typically are
images—images which, when first spoken or written, were particularly memorable or powerful. But
their very power has been their undoing. They have become so familiar—on the tip of everyone’s
tongue (so to speak!)—that they have lost their effect, and prevent readers from seeing the very
thing they describe. We will address the problem of “cliché” in this course by reading and writing
about a set of essays/stories that present experiences and ideas through experimental or
unfamiliar forms or ideas. As readers, we are attempting to discover how such writers structure
their thinking and their language. How do they use convention to good purpose and how do they
work against it? As writers, through a series of connected essays each of us will write, we will be
trying to stand outside the obvious, to work (sometimes) against what may seem like common
sense or common knowledge as we nevertheless try to make our ideas accessible and compelling
to others.

ENG 41
Introduction to Film and lab
Instructor: Dina Smith

Critical approaches to film study, emphasizing the development of film as both an art form and
cultural practice, and based on analysis of at least a dozen film texts.

Students registering for ENG 041 are required to register for ENG 041L. Although you are
registered for one lab, you are permitted to attend either of the two ENG 041L lab sections
available on Sundays: 1:00m-3:45pm or Thursdays: 5:00-7:45pm.

Students can also watch the films on their own if neither labs work for their schedules.

ENG 42
Approach to American Literature Pre 1900
Instructor: Kyle McCord

Students will read poetry, prose, and/or drama composed before 1900, becoming familiar with a
variety of approaches to interpreting how such texts represent the cultures of the Americas.
Frequent writing and revision.
ENG 44
The English Renaissance: Striving, Seeking, Finding
Instructor: Jeanette Tran

What made the renaissance "the renaissance"? How do certain texts, authors, and ideas come to
define this period? The renaissance is commonly defined as an intellectual and cultural movement
spurred by a renewed interest in classical learning, but we have also come to associate this period
with the rise of the individual, and a spirit of both angst and ambitiousness. This course will offer
students a survey of major works written by major English renaissance authors such as Philip
Sidney, Sir Thomas More, Christopher Marlowe, John Donne, William Shakespeare, Anne
Bradstreet, John Milton, and Aphra Behn. We will consider how these authors engage with ideas
related to exploration, travel, and discovery, political and religious strife, gender and sexuality, and
the place of art in society. This is a writing intensive course so students will be asked to complete
short bi-weekly writing assignments in addition to longer pieces that will be assigned throughout
the semester.

Is there supposed to be a place where students can see if the course is being taught online or
hybrid?

ENG 65
Intro African-American Literature

Instructor: Jeff Karnicky

This course will work to define and understand the constitutive role that African-American literature
plays in American literature. We will think about the ways that historical and social forces have
shaped, and continue to shape, African-American literature, from slave narratives to contemporary
fiction and essays. We will read such authors as James Baldwin, Zora Neale Hurston, Toni
Morrison, and Nnedi Okorafor.

ENG 75
Intro to Women’s and Gender Studies
Instructor: Leah Huizar

What is gender and sexuality? How do society and culture shape these concepts? This
interdisciplinary course is designed to familiarize students with central concepts of women's
studies, as well as with the ways in which society and culture shape notions of gender and
sexuality. In this course, we ground our thinking in theory and scholarship while we also respond to
books of fiction and poetry, Latina and black studies essayists, sociological analysis, legal writing,
and much more from across a broad range of contributing fields. Expect that we will read, think,
and respond to these ideas as an engaged and thoughtful community. We will take seriously the
intersectional perspectives and movements which challenge uncritical dialogue around these
topics. By the end of the semester, students will have gained the skills to apply, analyze, and
respond to the various ways that contemporary social and cultural life informs our sense of
gender. Crosslisted with WGS 075
ENG 75
Intro to Women’s and Gender Studies
Instructor: Melisa Klimaszewski

This course is designed to familiarize students with women's experiences, as well as with the ways
in which society shapes notions of gender. The course also provides ways to identify and analyze
how a society's notions of gender shape the ways in which a society sees and organizes itself.
Class members examine the construction of women's societal roles and their personal
experiences, discussing points of congruence and dissonance. As an interdisciplinary course,
reading and discussion material are drawn from fields such as religion, sociology, psychology,
political science and literature, among others, so students can examine the view, status and
contributions of women. Class sessions consist of a mixture of lectures, guest speakers, films and
discussion.

ENG 77
Reading Gender
Instructor: Yasmina Madden

This course will focus on classic and contemporary fiction by women. We will look at writers like
Zora Neale Hurston, Charlotte Perkins Gilman, and Susan Glaspell, writers who created female
protagonists who struggle for independence, and we will ask to what degree, and how, these
characters achieve what they desire. Paired with these “classic” texts will be a contemporary text
that examines similar issues in a more modern context by such writers as Jia Quing Wilson-Yang,
Carmen Machado, Kristen Roupenian, Dana Johnson, Margaret Atwood and more. We will
examine and discuss the roles and representations of these authors’ female protagonists, as well
as the other characters in their lives, and the real-life issues women writers faced and currently
face. We will also discuss, among other topics, how race, class, sexuality, gender identity,
motherhood, partnerships, and violence are depicted in these novels and stories. Though the
emphasis will be on close readings of and thoughtful engagement with the primary works, we will
also read several critical essays meant to open up our discussions of the texts.

ENG 80
Artificial Intelligence in Fiction
Instructor: Amy Letter

This course allows students to both read and write fictions about “artificial intelligence.” We
will examine past and present cultural beliefs and anxieties about conceptions of
artificial intelligences, looking at popular works that have spoken to audiences’ fears of, and hopes
for, intelligent machines that interact with humans and participate in human life. From calculating
murderers (eg: HAL 9000) to protective companions (eg: Baymax), how have we viewed these
artificial “persons,” and what have we imagined becomes of natural, biological humans who live
lives integrated with AI? Students will explore their own visions of present and future by writing
their own stories about conceived “AI.”

ENG 81
Intro to English Linguistics
Instructor: Gabriel Ford

An introduction to the systematic study of the English language and of language in general. Words;
sounds; grammar and structure; language and culture; world languages and development of
English; language and the brain; language growth in the child; variations and dialects; writing
systems.
ENG 91
Reading & Writing Poetry
Instructor: Leah Huizar

This course offers an introduction to the creative writing and reading of contemporary poetry.
Expect that we will devote time to the practice of poetry writing and become familiar with its crafting
and revision processes. We will also read contemporary books of poetry—with particular emphasis
on lyric poets who write with insight on issues of identity, race, class, and gender; poets whose
writings speak to this current moment with power and impact. In doing so, we will come to
understand what poetry can do and what we can do with poetry. As an introductory course, no
prior experience or knowledge of poetics is required. As a four-credit writing-oriented course, a
willingness to think critically about the observable world and to devote time to a sustained writing
practice are essential approaches.

ENG 92
Reading and Writing Short Story
Instructor: Amy Letter

An introduction to reading and writing short fiction. The course explores the traditions, theories and
practices that have shaped short stories, with emphasis on the fiction of the later 20th century.
Writing assignments include both critical papers and original stories. Frequent writing and revision.

ENG 93
Reading & Writing Non-Fiction
Instructor: Yasmina Madden

This introductory creative writing workshop will focus on creative nonfiction personal essays.
Students will be asked to analyze and discuss personal essays, both published piece and student
manuscripts. Students will also engage in intensive writing and revision. Students should expect to
write, at minimum, 35-40 pages of formal writing and revision. This course requires active
participation as it is discussion and workshop-based.

ENG 115
Advanced Fiction Writing
Instructor: Carol Spaulding-Kruse

This is an intensive workshop-centered course for serious writers of fiction. You will write and
revise 2 short stories during the term as well as read and respond to the stories of other writers in
class. In addition, each week we will read and discuss published stories by selected authors and
address topics of interest to writers--from writer’s block to writing for publication. In format and
approach, the course is structured like a writer’s group where we offer one another close readings
and constructive criticism in a supportive setting. To that end, your active and thorough
participation and response is essential to the success of the course. Furthermore, since most of
your time will be spent reading and writing fiction outside of class, you must be highly self-
motivated and serious about your work.
ENG 120
Teaching and Tutoring of Writing
Instructor: Jody Swilky

Advanced Topics in Writing: Teaching and Tutoring of Writing: Theory and Practice
This course is designed to serve the needs of tutors and future teachers of writing. Students will be
introduced to competing theories of writing development and explore their implications for various
approaches to instruction. The primary concerns of the course will be learning strategies for
responding to writing and for designing assignments. Topics to be discussed include the
relationship between writing and reading, responding to "error," promoting fluency and critical
analysis, responding to cultural differences, and revision strategies.

ENG 120
Advanced Topics in Writing
Instructor: Elizabeth Robertson

The essay, written typically in the first person, is a piece of non-fiction, yet, as modern essayist Carl
Klaus says, “profoundly fictive” in character. We will study the Belles Lettres tradition of writing
essays from the 16th century onward in this course, attempting to define and understand what an
“essay” has been historically through to its many present forms. Students will read such writers as
Bacon, Lamb, Thoreau, Woolf, Gould, Didion, Kingston, and others. In addition to writing critical
responses to the readings, each student will become an essayist in his/her own right. These
student essays will be part of the reading for the course.

ENG 126
Women and Film and lab
Instructor: Dina Smith

This class investigates women’s relationship to film: as producers, consumers and consumed.
From women actors, such as the iconic star Bette Davis, to women screenwriters, directors, and
producers who have historically been ignored, this class will attempt to uncover the various ways in
which women have been active agents in a largely perceived male-dominated industry. We will
historicize women’s crucial role in developing early cinema (particularly, Alice Guy-Blaché and Lois
Weber); examine the gendered cinematic apparatus (or “the gaze”) and how women have figured
on screen; explore female-centered Hollywood genres, in particular the “woman’s film” or
melodrama, and how they appeal to female spectators. Finally, we will end the course by looking at
more contemporary films that challenge earlier gendered conventions. In the end, you will
participate in lively discussions and write critical analyses on women’s important contributions to
film culture.

ENG 130
Studies in Literary Genres
Instructor: Elizabeth Robertson

We will study a range of essays from the 16 th century onward in this course, attempting to define
and understand what an “essay” has been historically through to its many present forms. Students
will read such writers as Bacon, Lamb, Thoreau, Woolf, Gould, Didion, Kingston, and others. In
addition to writing critical responses to the readings, each student will become an essayist in
his/her own right. These student essays will be part of the reading for the course.

ENG 140
Shakespeare: Texts and Contexts
Instructor: Jeanette Tran
Kenneth Muir famously stated that “There is no such thing as Shakespearean tragedy:
there are only Shakespearean tragedies.” In this class, we will read Shakespeare’s
major and minor tragedies in order to develop a sense of what does (or does not)
distinguish Shakespearean tragedy from those of other playwrights. We will engage
with theoretical and historical material, as well as the works of a few of Shakespeare’s
contemporaries, in our attempt to articulate our own theory of Shakespearean
tragedy.

Restrictions: May not be enrolled as a Freshman or instructor permission is needed.

ENG 173
Critical Theory
Instructor: Jeffrey Karnicky

English 173 will begin with a question: What use is literary theory and criticism? We will then read
selections from various theorists and critics as we engage the above question. From there,
speaking very broadly, we will consider theoretical and critical texts as tools that explore how we
live in the world. As a means of engagement with the texts under consideration, we will think about
how various critics and theorists define the literary, cultural, social, and economic roles of
language, subjectivity, and institutions. We will read a wide historical range of theory as we discuss
multiple critical perspectives. We will also think about how we can read theory productively; and,
we will watch Adventure Time with literary theory in mind.

ENG 195
Capstone English and Writing
Instructor: Elizabeth Robertson

Department approval required.

CAPSTONE IN ENGLISH & WRITING: Belles Lettres: The Art of the Essay—History, Theory
and Practice
The “essay” as a form of Belles Lettres is as difficult to pin down now as it was in the 16th century
when Michel de Montaigne first used the term to describe his attempts (assays) at describing his
own life and thinking. Since then, essayists such as Francis Bacon, Charles Lamb, Samuel
Johnson, Virginia Woolf, E.B. White, Annie Dillard have written informally and formally, to express
ideas, notions, experiences, emotions in a voice peculiar to themselves. The essay is written in the
first person, is a piece of non-fiction, yet, as modern essayist Carl Klaus says, “profoundly fictive” in
character.
In this hybrid seminar (open to both English majors and Writing majors), we will read a range of
essays, from the 16th century onward. Through short critical writings in response to individual
essayists and some critical work about them, and through the writing of our own essays, each of us
will work toward a form or definition that we find useful. The major seminar project (worked out in
consultation with the professor) will either be an extended critical essay on one or more of the
essayists or a set of personal essays. For either type of project students will write a critical
commentary about their own essay, and the ways in which their project
completes/extends/comments on the student’s work throughout the major.