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Undergraduate Courses
Current Courses (Spring 2017)
- 100-Level Literature Courses
- 200-Level Literature Courses
- 300-Level Literature Courses
- 400-Level Literature and Language Courses
- Rhetoric Courses
- Creative Writing Courses
- Public and Professional Writing Courses
200-Level Literature Courses
L204 Introduction to Fiction: FICTION OF THE MIDWEST
Jesse Molesworth
5696 11:15a-12:30p MW 3 cr.
This course aims to acquaint students with the fundamental elements of the art of fiction (especially including point of view, plot, character, style, narrative technique, theme, imagery, symbol, and setting). My hope is to enhance your ability to read, interpret, write aboutand ultimately to enjoy and to appreciateliterary fictions. We will focus on a topic that unites us all: the American Midwest, as rendered in works as diverse as Willa Cathers My Antonia, F. Scott Fitzgeralds The Great Gatsby, Richard Wrights Native Son, Craig Thompsons graphic memoir Blankets, and the Coen Brotherss film Fargo. These five works could not be more different in tone, perspective, character, theme, or historical era. But what brings them together is the view of the American Midwest as a cultural unit, meaningful literary trope, and source of creative inspiration. Assignments will include 3 medium-length essays, in-class writing assignments, and regular class attendance and participation.
L205 Introduction to Poetry: SUSTAINING POETRY
Shannon Gayk
5698 1:00p-2:15p MW 3 cr.
From its pastoral lyrics to its laments about industrialization, from its descriptions of botany to its characterizations of birds, poetry is a genre that often attends closely to place and ecology, inviting its readers to see the non-human world with new eyes, and to consider the place of the human being in that world. But, can poetry be ecological? What does poetry have to do with sustainable ways of living? With confronting ecological disaster and loss? What can it offer ongoing conversations about environmental conservation or ecological awareness? In this intensive-writing course, we will consider these questions and many more as we approach poetry as a sustaining art. We will read and discuss a wide range of poems that encourage environmental reflection. And as we consider the aims and modes of ecopoetry over the course of the semester, we will focus on cultivating the interpretive skills needed to understand poetry, and, even more importantly, to enjoy reading it, discussing it, and writing about it. Since this is an intensive writing course, you should expect to compose three papers over the course of the semester along with several shorter pieces of writing.
L207 Women and Literature: WOMEN'S WORK
Christine Farris
16526 1:00p-2:15p TR 3 cr.
In this course, we will read selected works from the 19th century to the present, examining how women authors use writing similarly and differently to represent womens lives, particularly their domestic, creative, and professional work. We will investigate how, in addition to work, several other thematic issues informed by history and culture are represented in literature and film through the lens of genderincluding class, race, education, motherhood, the body, and abuse. We will be particularly concerned with how fictional and cinematic texts work through conflicting ideals of femininity, equality, and difference, often via the use of and/or the subversion of stereotypes. We will also explore the bases for our own connections to these works, as we cultivate critical reading and analytical writing skills. There will be quizzes, a midterm exam, a final exam, and a comparative analysis paper. Readings will include: Jane Eyre, The Yellow Wallpaper; Women & Economics, A Room of Ones Own; Professions for Women, Imitation of Life, The Bluest Eye, In Search of Our Mothers Gardens, The Help. Films: I Walked With a Zombie (Tourneur, 1943); Imitation of Life (Stahl, 1934); and Imitation of Life (Sirk,1959).
L208 Topics in English and American Literature and Culture: EXPATRIATES IN PARIS
Judith Brown
12688 2:30p-3:45p TR 3 cr.
In the early twentieth century, thousands of young people moved to Paris from the U.S. and elsewhere, drawn to the city's bohemian culture, relaxed morality, and vibrant arts scene. Avant-garde painting, jazz, dance, and literature flourished. Stravinsky debuted his Rite of Spring in 1913, Picasso developed Cubism, Gertrude Stein wrote literature unlike anything written before; Hemingway aimed to buttress masculinity following the devastation of the first world war, and Josephine Baker delighted crowds with her primitivist banana dance. Young people gathered at literary salons and bookshops, and sought to revolutionize their worlds through art. Was this a generation of lost and wounded youth, heading toward self-destruction? Or was this a golden age of artistic production that saw the birth of the centurys most enduring art? In this class well study some of the most fascinating literary works of the early to mid 20th century, including those by Stein, Hemingway, Fitzgerald, Mina Loy, Djuna Barnes, and James Baldwin. Well look across the arts, too, and talk about the jazz scene, the visual arts, and performance. Our first text will be Woody Allens Midnight in Paris. Course evaluation will be based on one short presentation, three papers, and regular quizzes.
L208 TOPIC: Tough Beat: Gambling and Ethical Choice
Richard Nash
35588 AAR TR 3 cr.
Above class is offered as a hybrid course. It requires that students interact with course materials, fellow students, and the instructor through online means (i.e., CANVAS). Enrolling in this course requires that students have regular access to a laptop or desktop computer and a reliable Internet connection. Above class will meet occasionally on campus at a location and time to be arranged by the instructor.
"A game is being played at the extremity of this infinite distance where heads or tails will turn up. What will you wager?" Blaise Pascal, Pensees
Probability theory began in 1654 when the French philosopher and mathematician answered a request for help from a gambling acquaintance by formalizing certain mathematical rules to guide his play in games of chance. Later that year, Pascal suffered his famous mental breakdown or conversion experience, and devoted what remained of his short life to religious philosophy, including the well-known "wager" argument for belief in the existence of God. Gambling is arguably as popular now as it has been in this country for some time, and its outreach into popular culture is greater than ever. We are going to consider the ethical good of gambling in this coursethe ways in which gambling teaches lessons of wise decision-making, deliberate choice, and most especially, respect for consequence and the acceptance (when necessary) of failure and loss. These are profoundly important doctrines, too often overlooked in easy dismissive dramatizations of gambling. Our course will consider a fairly wide range of forms of gambling in literature, film, television and popular culture, but we will restrict our primary focus to three forms in particular: pool, poker, and horse racing. Texts for the course are likely to include: The Hustler, The Sting, Rounders, Let it Ride, in addition to some short fiction and non-fiction.
Exam 1 - 10%
Exam 2 - 20%
Final Exam* - 40%
Final Paper - 20%
Participation** - 10%
*The final exam is a two-hour exam that will receive two grades, each worth 20%; the first hour exam will be like exams one and two, and cover material since the second exam; the second hour will be an essay exam which will be comprehensive.
** Participation is graded as a subjective appraisal of your demonstrated listening skills over the entire semester. I encourage you to ask me for a more detailed articulation during our first class meeting of how you are evaluated in this way.
L210 Studies in Popular Literature and Mass Media: AMERICAN NARRATIVE(S) IN THE AGE OF TERRORISM
Walton Muyumba
31127 2:30p-3:45p MW 3 cr.
What can filmmakers, television show runners, investigative journalists and novelists tell us about this contemporary American age of war, economic diminishing, and terrorism? We will watch a set of television shows and movies, and read a set of literary novels that represent 21st century American experience. We will study these visual and literary artists, asking whether or not they can influence how we shape our ideas and personal narratives about the 9/11 attacks, the wars in Iraq and Afghanistan, definitions of terrorism, the Mexican borderlands drug war, Hurricane Katrina and other natural disasters, American identity and ethnicity, and the 2007-08 financial collapse. Can these artists help us understand the consequences of terrorism and war on our imaginations? Do their works offer useful revisions of other popular narratives about 21st century America? Our close readings of both the artists aesthetic choices and their cultural/political arguments will drive our discussions. Readings will include Billy Lynns Long Halftime Walk, The Reluctant Fundamentalist, The Submission, and The Dark Side. Possible viewing will include Zero Dark Thirty (2012), Inside Job (2010), and Homeland -- Season 1 (2011).
L220 Introduction to Shakespeare
Ray Smith
5700 1:00p-2:15p MW 3 cr.
Ever wonder where the phrases "all that glitters is not gold," "bag and baggage," "neither a borrower or a lender be," "budge an inch," "give the devil his due," "melted into thin air," "one fell swoop," came from? All of these are found in the works of William Shakespeare. Introduction to Shakespeare involves a rapid reading of about a dozen plays, mostly comedies and tragedies. Some of the plays will have been read in high school; we will be treating dramas that most scholars consider among Shakespeares greatest creations. We will examine the plays as works of literature and cultural artifactsthe emphasis will not be upon performance, though drama students often find this course of use in arriving at their own interpretations of the plays. Students write 5-8 short first passes, one-page essays in which we take on an issue that will be discussed in the next class; students will be invited to take part in those discussions; there is a mid-term and a final. Non-majors and majors report that they find the course engagingafter all, its Shakespeare, the greatest dramatist writing in English, and familiarity with his work is generally considered essential to being considered an educated person.
L223 Introduction to Ethnic American Literature
Alberto Varon
16527 11:15a-12:30p TR 3 cr.
This course will provide a general introduction to Ethnic American literature. We will examine some of the important and representative writers from across a wide array of ethnic traditions, including, African, Asian, and Anglo American, Latina/o, and American Indian, whose work collectively paints a more inclusive and fully realized picture of American life in the late 20th and 21st centuries. The course will ask two basic questions: what does it mean to be an American? and how does literature both represent and create that experience? This course will expose you to an array of ethnic American writers who represent some of the most visible ethnic groups in the U.S., but also those producing some of the most influential work. Together we will introduce and work to develop the basic skills of literary and cultural analysis by examining texts across a wide variety of media and genres. This includes fiction (both novels and short stories), poetry, film, and graphic literatures, as well as autobiography, popular culture artifacts, and critical work. Selected texts may include work by: Sherman Alexie, Junot Diaz, Jose Antonio Villarreal, Alice Walker, Gene Luen Yang, Alex Rivera, Jhumpa Lahiri, Justin Simien, and others. Concepts we will address include but are not limited to: race, gender, sexuality, nationality, and ethnicity, but also on globalization, transnationalism, border theory, neoliberalism, im/migration, and history.
L224 Introduction to World Literatures in English: HOSPITALITY LOCAL CULTURES, GLOBAL CHALLENGE
Joan Linton
13691 1:00p-2:15p MW 3 cr.
Through our daily interactions, we experience cultural diversity within society and the world. Amidst such diversity, however, hospitality stands out as a universally shared value and an enduring theme in literature across the cultures. The works we read in this course are chosen because they: (1) explore the ways in which hospitality, beginning in the home, shapes ones values and relation to other people, to nature, and to the world; (2) track the breakdown of hospitality in the face of war and environmental challenges to co-existence; and (3) enable us to imagine the ways hospitality may hold the key to a sustainable future. We will begin by studying stories and episodes from the western tradition of hospitality (and/or its breakdown), both to understand the role of hospitality in the ethics and politics of everyday life, and also to develop critical skills for literary analysis. This unit will provide grounding for units 2 and 3, which focus on hospitality as a social force within South Asian cultures. Readings will include 2 novels: The Hungry Tide by Amitav Ghosh and Green On Blue by Elliot Ackerman; several short stories or episodes from longer works; and several critical perspective essays on hospitality. In addition to active participation in class discussion and activities, students will be responsible for a group presentation; notes on readings and in-class writings; 1-page first passes (4 total); a mid-term exam and a final paper.
L230 Introduction to Science Fiction
Jesse Molesworth
13381 2:30p-3:45p MW 3 cr.
This course offers an introduction to the analysis and appreciation of science fiction, or as it is sometimes called, the literature of cognitive estrangement. We will follow five unitsusually featuring one novel, one film, and one theoristeach of which focuses on a topic of particular relevance to the genre: Cognitive Estrangement, Governmental Dystopia, Economic Dystopia, Cyberculture, and Time Travel. Along the way, we will explore such concepts as cognitive estrangement, speculative fiction, postmodernism, posthistoricism, posthumanity, and the uncanny. Special attention will be given, especially in light of the works by Moore, Gilliam, Atwood, Cuarón, Ishiguro, and Scott, to the critical concept of dystopia: the depiction of a fictional world marred by disharmony. My intention is to foster not only an understanding of such concepts and their implications for contemporary culture but also a love for what is surely one of the most imaginative of all literary genres. Readings may include Left Hand of Darkness, Oryx and Crake, Cloud Atlas, Never Let Me Go, and V for Vendetta. Possible viewings may include Blade Runner, Brazil, Children of Men, 2001: A Space Odyssey, and La Jetée. Assignments will include three medium-length papers, in-class quizzes, as well as regular attendance and participation.
L240 Literature and Public Life: CONFESSION CULTURE
Christine Farris
32762 4:00p-5:15p TR 3 cr.
America has become a confessing culture, as individuals use social media to disclose information, and celebrities and politicians are increasingly compelled to publicly apologize for their behavior. In this course, through fiction, autobiography, and real-life cases, we will examine how public performances of confession function narratively and rhetoricallyin particular, how they are marked by contradictory intentions in their efforts to admit wrongdoing, express the self, seek forgiveness, and renegotiate social values. We will examine some historical examples, tracing how confession has evolved into private and public rhetorical and literary performances that accomplish things other than the revelation of truth. We will consider how confessantspublic figures, ordinary people, and authors of fictioninform, persuade, and entertain, and why we respond as we do to their truths and deceptions. Assignments will include a comparative analysis paper, quizzes, a midterm, and a final exam. Texts include Nathaniel Hawthornes The Scarlet Letter; Ian McEwans Atonement; J.M. Coetzees Disgrace; and O.J. Simpson/ Goldman Familys (If) I Did It: Confessions of a Killer. We will also read excerpts from the confessions of Saint Augustine, Jean-Jacques Rousseau, Bill Clinton, and former New Jersey governor James McGreevey, as well as some contemporary analyses of confession, including sections of Michel Foucaults The History of Sexuality; Susan Bauers The Art of the Public Grovel; and Alec Wilkinsons Mr. Apology and Other Essays. Films include The Contender, directed by Rod Lurie and Fall to Grace, directed by Alexandra Pelosi..
L260 Introduction to Advanced Study of Literature
Shane Vogel
14852 2:30p-3:20p TR 3 cr.
This course introduces students to advanced methods of literary interpretation using a range of texts and criticism that address the theme of nightlife. In the stretch between sunset and sunrise, whole worlds come into being. Nightlife has been denounced, celebrated, and romanticized; analyzed, excavated, and interpreted; legislated, protested, and reformed; written, acted, and sung. This course will take the time and space of the night as a way to introduce the concerns of humanistic study and pose questions about the uses and possibilities of literature, film, visual art, and performance, with an emphasis on the practice of critical interpretation. We will examine how writers, artists, and performers have imagined nightlifeits people and places, its sounds and sights, its ethics and values, its comforts and fears. What themes and issues become most clear in the darkness of nightfall? What activities and practices flourish while most people slumber? What are the genres, settings, and characters that make up the literature of nightlife? How does nightlife contribute to the formation of communities and identities? What goes on afterhours, either in the saloons and nightclubs of the city or in the dreamscapes of our minds? In exploring these questions, we will consider a diverse range of creative forms and genres, including short stories, poetry, novels, drama, young adult fiction, graphic novels, philosophical texts, and film. Alongside these works we will also read scholarly criticism and consider closely the work of an English major that moves beyond literary appreciation toward more complex forms of research, argumentation, and analysis.
300-Level Literature Courses
L305 Chaucer
Karma Lochrie
13625 9:30a-10:45a TR 3 cr.
"The Canterbury Tales, though written seven hundred years ago, can still make us laugh, make us ponder, and make us look up sometimes from the page with a wild surmise," wrote Chaucer scholar Donald Howard. This course will introduce you to that collection of tales by Geoffrey Chaucer with the aim of provoking the kind of wild surmise, laughter, and rumination to which Howard alludes. We read Chaucer In the Middle English with help from various online guides to pronunciation and translation, modern rap versions of the tales, and even Chaucers Twitter account. The more provocative strains of Chaucers workhis interest in gender and sexuality, medieval religious issues, debates about marriage, and social critiquewill be the foci of our literary encounter with this fabulous text. In addition, this course will put to rest any preconceptions about the "boring Middle Ages" in favor of a more informed appreciation of the complexity of the literature and culture of this text. Requirements for the course include two papers (6-8 pages), a midterm and final exam, as well as Middle English translation quizzes.
L310 Literary History 1: Beginnings through the Seventeenth Century
Shannon Gayk
16590 11:15a-12:05p MW 3 cr.
In this course, we will survey and sample the earliest literatures in English, from the Anglo-Saxon epic, Beowulf, to the often bawdy stories of Chaucers Canterbury Tales and the courtly quest of Sir Gawain and the Green Knight, to early drama, renaissance love lyrics, and finally to Miltons epic, Paradise Lost. Beginning in the 700s and ending around 1700, you should expect a fast and furious journey through the "greatest hits" of early literature, as we approach early literary history as the story of cultures imaginative engagement with their historical, social political, and religious contexts. We will also pay special attention to how the texts we consider construe their relationship to the past and the future: asking, for example, how do literary texts represent their debts to earlier texts and literary traditions? How does literature engage the inherent tensions between residual and emergent cultures in periods of transition? How does literature confront new regimes? New forms of knowledge? New technologies? The discovery of new worlds? How does it represent the passing away of the old ones? You should leave the course with a strong grounding not only in the history and the texts we cover, but also in methods for reading literary texts in relation to their historical contexts. Course requirements include regular attendance and active participation in both lecture and discussion sessions, midterm and final exams, several in-class close readings, and a critical essay.
L312 Literary History 2: Eighteenth and Nineteenth Centuries
Ivan Kreilkamp
14737 4:00p-5:15p TR 3 cr.
In this course well read and analyze a representative range of some of the most important, representative, & interesting poetry, fiction, essays, and drama published in Britain and the United States in the eighteenth and nineteenth centuries. Amid a wide range of topics and questions, one abiding focus for us will be the conflict between the eras faith in "Enlightenment," reason, and rationality, on the one hand, and its awareness of a host of opposing forces that challenge or offer an alternative to the rule of reason: superstition, ignorance, the unconscious, the Gothic, revolution, imagination, prophecy, inspiration, nonsense, dreams, and the supernatural. Some recurring questions will be: what can be known? What are the objects of our knowledge or knowing? What evades or exceeds such knowing, and what are the limits of knowledge? What kind of knowledge does literature create, embody, and represent? Can we ever truly know ourselves? Well consider such questions while considering a range of genres, modes and literary movements including Neo-Classicism, the Gothic, Romanticism, and Realism and a range of authors. Evaluation will likely be based on a midterm and final exam, two papers, and reading quizzes.
L313 Early Plays of Shakespeare
Linda Charnes
5701 1:00p-2:15p TR 3 cr.
This course will examine social and political politics, familial relations, and competing versions of "history" in six of Shakespeare's Elizabethan plays. We will pay special attention to how social and economic systems organize familial and love relations, how conflicts between individuals and social codes are worked out (or not, depending on one's viewpoint), through strategies of genre, scapegoating, misrecognition, marriage, death and revenge. We will ground our reading of the plays in Renaissance social and cultural history, looking at the effects of female rule in a patriarchal culture, an emerging capitalist economy, and other factors that strongly influenced gender, family and class relationships. We will read several comedies, history plays, and tragedies; and look at how the choice, structure, and conventions of genre alter, disguise or reveal the debates and crises circulating in early modern England and the theatre. Plays will include Richard II, 1 Henry IV, Merchant of Venice, Twelfth Night, and Hamlet. Requirements will be two papers, a midterm, attendance and participation, and a final exam.
L314 Late Plays of Shakespeare
Linda Charnes
16532 2:30p-3:45p TR 3 cr.
This course will examine literature and political psychology. Concentrating on Shakespeare's most political plays-Antony and Cleopatra, Richard II, Henry IV parts 1 and 2, Henry V, and Coriolanus-we will examine how the playwright anatomizes power politics and the dynamics of getting to be, being, or staying, "in charge." The seminar will spend considerable time looking at the historical conditions that organize Shakespeare's political thinking. Since it is an election year, we will also make connections between the politics of Shakespeare's day and our own, to see what Shakespeare can teach us about our own political psychology. Although we will conduct deep, complex and respectful political conversations with each other, the seminar will be run in a "non-partisan" manner and will remain focused on how Shakespeare himself understood and represented power dynamics. This course is NOT an introduction to literary study; it is designed only for upper-division students who have already satisfied their composition requirements and who have experience studying literature at an advanced level. Majors in Political Science, English, History, Psychology and other cognate fields are encouraged to apply, as are students of all political backgrounds and sensibilities.
L316 Literary History 3: Twentieth and Twenty-first Centuries
Scott Herring
16593 1:25p-2:15p MWF 3 cr.
This course surveys major works in twentieth- and twenty-first century Anglophone literatures. We will read classics by F. Scott Fitzgerald, Willa Cather, Zora Neale Hurston, and James Baldwin as well as recently lauded works by Edwidge Danticat, R. Zamora Linmark, Alison Bechdel, Dave Eggers, and Cormac McCarthy. Along the way, we will cover the global expanse of modern and late modern literary writing: from New York City to the Great Plains, from the swampland of Florida to the streets of Paris, from Haiti to Honolulu, and from pre-Katrina New Orleans to the end of the world. Well also cover major genres such as modernism, regionalism, African-American literature, the gay and lesbian novel, diasporic literature, and dystopian fiction. Assignments will include a midterm, a final, and two papers. Books will include The Great Gatsby, My Antonia, Their Eyes Were Watching God, Giovannis Room, Brother, Im Dying, Quicksand, Rolling the Rs, Fun Home, and The Road.
L318 Milton: CONTROVERSIES AND CONTRADICTIONS
Penelope Anderson
31005 11:15a-12:30p TR 3 cr.
The poet John Milton loved controversy and wasnt afraid of contradictions: He evokes the pleasures of love in Eden while shading them with misogyny; he represents Gods authority by paralleling it to the king he wanted executed; he gives us one of literatures most attractive heroes in the rebellious Satan. By reading Miltons poetry and prose, youll discover how his poetry shaped our sense of what great literature is and how poetry itself works. And youll gain a sense of why Milton has become a lightning rod for critical debate. From his prose advocating free speech to his great biblical epic Paradise Lost to his drama about religious violence, Milton confronted issues that were still debating today. Coursework will include short writing pieces, a research paper, and a final exam. Youll also have an optional extra credit assignment.
L320 Restoration and Early Eighteenth-Century Literature: CHANGING CLIMATES, CHANGING NATURES
Richard Nash
31128 1:00p-2:15p TR 3 cr.
This course will be interested in reading a range of eighteenth-century literature in the era immediately prior to the Anthropocene. We will be concerned with attending to questions of the meaning of "climate," "nature," and "Anthropos [human]" in a variety of settings, both literary and cultural. We will read poetry, drama, and prose by such authors as Swift, Pope, Thomson, Somerville, Gay, and Johnson. Students will write two brief essays and one long essay.
L332 Romantic Literature
Monique Morgan
31123 11:15a-12:30p TR 3 cr.
British literature of the Romantic period was, and is, revolutionary: much of it was written during the French Revolution and Napoleonic Wars; it contested long-standing notions of natural order, social organization, ethical behavior, and artistic value; and it invented new genres and reanimated old ones. We are still living in the cultural legacy of Romanticisms revolutionary thought. This course will focus on the poetry of British Romanticism, but will also include a range of nonfiction prose as well as two novels Jane Austens Persuasion and Mary Shelleys Frankenstein. Lectures will incorporate formal analysis, historical contexts, and a variety of critical approaches, but will also set aside time for discussion in each class meeting. Evaluation will likely be based on attendance and participation, two essays, and two exams. Previous familiarity with poetry is recommended but not required.
L346 Twentieth-Century British Fiction
Ranu Samantrai
31132 2:30p-3:45p TR 3 cr.
A broad overview of English prose literature of the second half of the twentieth century. Were going to create an intellectual map of the period that connects the eras aesthetic innovations --including new realism, postmodernism, and postcolonialism--to its political and philosophical developments. England is an excellent test case for studying a period that began with the great European empires being pushed aside by the superpowers of the Cold War and ended with that bi-polar, nation-focused world itself giving way to the pressures of globalization. In the class youll increase your store of knowledge and hone your interpretive and analytical skills. But best of all, youll be able to indulge in the pleasure of engaging with beautiful, moving, and sometimes funny works of art that take on big questions such as the significance of the individual, the basis for ethical action, and the dubious legacy of previous generations. Well read plays and novels by J.B. Priestley, John Osborne, Sam Selvon, Tom Stoppard, Caryl Churchill, Kazuo Ishiguro, Salman Rushdie, Pat Barker, and David Mitchell. Assignments will include two essays, two exams, and one research presentation.
L357 Twentieth-Century American Poetry
Nikki Skillman
13446 1:00p-2:15p TR 3 cr.
Exploring how poetic language, structures, and devices grow and change over the course of "the American century," in this course we will study some of the most memorable, rapturous, irreverent, innovative poets and poems in the history of English. We will examine the kinds of pleasure and rigor and freshness to which the verse of this era aspires, always striving to "make it new," and trace the shifting notions of authority and authenticity poets invoke in the face of profound upheavals of value and historical consciousness. Though our focus will always be on poems as individual works of art, we will also consider how they reflect and pronounce upon the social world; we will situate the poems we read within broad aesthetic movements, within the long history of the genre in English, and within the oeuvres of their makers. Poets will include Robert Frost, Gertrude Stein, T.S. Eliot, Ezra Pound, William Carlos Williams, Langston Hughes, Sylvia Plath, Amiri Baraka, Allen Ginsberg, John Ashbery, Adrienne Rich, and Rae Armantrout, among others. Evaluation will be based on two essays (the latter of which may take the form of a review of a recent book of poetry), two exams, and class participation.
L358 American Literature from 1914: NOVELS FROM DIFFERENT ERAS IN CONVERSATION
John Schilb
31136 11:15a-12:30p MW 3 cr.
This course is for students interested in reading, comparing, and discussing several major twentieth-century American novels. Our approach will be to put novels from the 1920s in "conversation" with post-World War II counterparts. Well read F. Scott Fitzgeralds The Great Gatsby in conjunction with Bharati Mukherjees Jasmine, studying how each treats the self-transforming American. Well compare Ernest Hemingways The Sun Also Rises with Don DeLillos White Noise, analyzing their treatments of Americans adrift. Well read Nella Larsens Passing together with Patricia Highsmiths Strangers on a Train, tracing how they focus on conflicted human relationships. Well compare William Faulkners novel The Sound and the Fury with Toni Morrisons Song of Solomon, both of which chronicle the history and present state of a family. Finally, well pair Dashiell Hammetts classic detective mystery The Maltese Falcon with Paul Austers postmodern take on the genre, City of Glass. Classes will be mostly discussion. Required writing will informal reactions to the readings; two papers; and a final exam.
L363 American Drama: PERFORMING AMERICA: THE INVENTION OF MODERN US DRAMA
Shane Vogel
32764 4:00p-5:15p TR 3 cr.
This course explores how theater and performance shaped and responded to transformations in American culture between 1830 and 1950. While our emphasis is on the emergence of modern drama in the twentieth century, we will begin the course with theater and performance of the nineteenth century to better understand the historical development of the US stage. In addition to studying dramatic texts and attending to the world of the theatre, we will look closely at cultural performances that take place off the stage as well. We will read plays by T. D. Rice, Anna Cora Mowatt, George Aiken, Angelina Weld Grimké, Eugene ONeill, Susan Glaspell, Sophie Treadwell, Lynn Riggs, Tennessee Williams, and Elmer Rice, as well as additional primary and secondary materials about American performance culture. Students will be expected to attend class regularly and participate actively in readings and discussions throughout the semester, as well as complete one short essay, one longer research paper, and a number of formal response papers.
L369 Studies in British and American Authors: KURT VONNEGUT AND AMERICAN POSTMODERNISM
Rebekah Sheldon
17367 9:30a-10:45a TR 3 cr.
"I keep losing and regaining my equilibrium, which is the basic plot of all popular fiction. And I myself am a work of fiction." --Kurt Vonnegut, Wampeters, Foma & Granfaloons.
Kilgore Trout. Midland City. Church of God the Utterly Indifferent. And so on. These familiar figures from the mad genius of Kurt Vonnegut rarely receive critical attention. This class aims to rectify that oversight by analyzing how Vonnegut uses irony, cynicism, class rage, techno-pessimism, and pop zaniness to remake popular genres like the science fiction novel, the bildungsroman, the boys adventure novel, the spy narrative, and the war memoir to suit postmodern American culture. We will consider Vonnegut as a philosopher of fictionality as well as a novelist and so we will read his nonfiction prose next to contemporaneous theorists of the postmodern condition. We will be attentive to the fit between the forms of his novels, the rhetoric of his essays, and the political postures they appear to endorse and we will wonder what endorsement might mean in the hands of such a sly metafictionalist. Vonnegut writes from an unremittingly white male perspective, and so we will see how ideas about race, gender and sexuality in his work appear to us when placed next to writing by and about women, queers, and people of color. Time permitting, we will screen a few examples of postmodern and science fiction film and television. Finally, students will be able to take advantage of the Vonnegut archives available at the Kurt Vonnegut Memorial Library in Indianapolis as well as the collection at IUB. Assessment will be based on formal and informal writing.
L371 Critical Practices: HOW TO READ A PAGE
Judith Brown
10694 11:15a-12:30p TR 3 cr.
In this class we'll examine some of the major theories that have shaped critical reading practices over the past one hundred or so years. What assumptions determine the ways we read? What cultural narratives govern our understandings of human life? What role does interpretation have in the ways we view the world around us? And what role does literature play? Through our readings in semiotics, psychoanalysis, Marxism, deconstruction, identity-based theories (centered on race, gender, and sexuality), postcolonialism, and postmodernism, we'll consider how they transform the ways we read. Well read theoretical work alongside three novels The Curious Incident of the Dog in the Nighttime, Heart of Darkness, and City of Glass in order to think through the possibilities opened up by theoretically-informed interpretation. Course evaluation will be based on several short keyword definitions, two papers, and a mid-term exam.
L381 Recent Writing: CONTEMPORARY FICTION - LOSS, LONGING, AND WHAT IS SALVAGED
Ray Hedin
9091 1:00p-2:15p MW 3 cr.
This course will focus on fiction writers of the last twenty-five years whose works have addressed the culturally pervasive, universally relevant themes of loss and longing. Although our emphasis will be on close examination of these themes in fiction, we will also consider larger cultural issues raised by these texts, such as: why are so many contemporary writers focused on these themes? What constitutes significant loss and longing in our culture? In what ways are these themes compatible with a stance of possibility and/or hope? We will also consider a film or two to suggest how these themes are conveyed in a different medium. Students will write two 4-5 page essays and two essay exams. There will be creative options for the writing assignments as well as analytic options. Students will also post brief comments and questions on our Canvas Discussion site every week.
L389 Feminist Literary and Cultural Criticism: FEMINIST & QUEER THEORY - AMAZONS, CROSS-DRESSERS, AND HERMAPHRODITES
Penelope Anderson
31006 2:30p-3:45p TR 3 cr.
From debates about sexual consent to controversies about bathroom usage, sex and gender are at the forefront of public debate. In this course, we will follow three guides the amazon, the cross-dresser, and the hermaphrodite who offer unique perspectives on these issues and their history. Together, theyll help us think about ways feminist and queer theory offer new perspectives on literature and society. For the amazon, its all about the relation between gender and power, from early feminist critiques of society and patriarchy to the sacrifices demanded by strength. The cross-dresser highlights ideas of performance: how do clothes make the woman or man? How do our actions shape who we think we are underneath our clothes? How is this all shaped by societal expectations of gender? Finally, the double-sexed hermaphrodite questions the distinctions weve discussed thus far: where do we draw the line between female and male? What happens if we do or dont choose to draw it? Course requirements will include reading responses, a short paper, and a research project.
L395 British and American Film Studies: BRITISH AND AMERICAN FILMS IN CONVERSATION
John Schilb
17582 2:30p-3:45p MW 3 cr.
This course is for students interested in viewing, comparing, and discussing several major British and American films. Our approach will be to put British movies in "conversation" with related American ones. Well compare Alfred Hitchcocks 1939 thriller The Thirty-Nine Steps with his 1959 American update North by Northwest. Well juxtapose the beloved 1941 classic Casablanca with Carol Reeds study of postwar corruption The Third Man. Well pair David Leans romantic drama Brief Encounter with the contemporary film Carol, two movies that start with strikingly similar scenes. Well study two ballet films, Michael Powells masterpiece The Red Shoes and Darren Aronofskys 2010 Black Swan. Finally, well pair two brilliantly artistic portraits of murderers: Powells Peeping Tom (which wrecked his career) and Hitchcocks Psycho (which revived his). The Monday night sessions will be screenings of these films. You will be required to attend at least five screenings, seeing the other films on your own. Our classes will be mostly discussion. Required writing will informal reactions to the films; two papers; and a final exam.
L396 Studies in African American Literature and Culture
Stephanie Li
14435 2:30p-3:45p MW 3 cr.
This course explores the changing nature of African American narrative from its earliest inception in the slave narrative to its dynamic possibilities in the 21st century. We will begin with foundational texts by Frederick Douglass and Harriet Jacobs to understand the particular challenges men and women faced under conditions of bondage. Further discussions will focus on the dangerous allure of passing as well as the exciting contributions of the Harlem Renaissance and the Black Arts Movement. We will conclude the course by thinking through what blackness means in the 21st century.
400-Level Literature and Language Courses
G405 Studies in the English Language: ENGLISH AND THE CULTURE OF CORRECTNESS
Michael Adams
13366 2:30p-3:45p MW 3 cr.
Why are we so concerned about "correctness" of English we write and read, speak and hear? Who gets to decide whats correct and whats not? How do grammar rules and dictionary definitions affect our day-to-day lives? What are the social consequences of correctness? These are the central questions of ENG-G405 in Spring Term 2017. Its a great course for future writers, editors, teachers, or anyone else interested in our attitudes towards language.
L460 Seminar: Literary Form, Mode, and Theme: MODERN LITERARY ARCHIVES
Christoph Irmscher
12702 11:15a-12:30p TR 3 cr.
Have you ever wondered about what it would be like to work not with someone else's edition of a novel, poem, or a play but with the actual manuscript or typescript handled by the author him- or herself? Have you ever asked yourself how your argument in a term paper might be made stronger by referring to an unpublished letter, an early draft of a poem, an annotated book once owned by your author? Or do you just enjoy spending time in libraries or museums? If any of this applies to you, then this is the course for you! This course will introduce you, in hands-on fashion, to the practical and ethical principles of working with modern literary archives. We will draw exclusively on original materials from the Lilly Library's collections, from the papers of both well-known writers (such as William Wordsworth, Edgar Allan Poe, Virginia Woolf, Sylvia Plath, Kurt Vonnegut) and lesser-known ones (the Italian anarchist Bartolomeo Vanzetti; the Hoosier novelist Mary Hartwell Catherwood). If your interests are interdisciplinary, the Lilly has resources for you, too: wouldn't it be fun to work with original letters written by Charles Darwin or with the notes left by Florence Deshon, Charlie Chaplin's lover and one of the stars of early American film? Some of the topics and skills to be covered might include the "archaeology" of texts (i. e., all that comes before the "fair copy" of a manuscript, such as drafts, notebooks, reading notes, and letters); exercises in deciphering handwriting; principles and types of textual transcription; the nature of the literary archive or collection; the use of finding aids in libraries, and so forth. My hope is that the skills you acquire in this course will not only make you a better literary critic but will also give you a taste of what it is like to work in a job that involves archival work. This is a practicum, in which, after some weeks of introductory conversations, I will assist you in your work. By the end of the course, you will have completed a project that is entirely yours. You will share your results with the rest of the class and, if you wish, a larger audience, too (e.g., in the form of a web exhibit).
L470 Seminar: Literature and Interdisciplinary Studies: LITERATURE OF CONTAGION
Patricia Ingham
14919 9:30a-10:45a TR 3 cr.
Epidemics, like other kinds of suffering, call for stories. A community facing an epidemic inevitably produces narratives meant to express, explain, or escape suffering. Accounts of the Black Death, cholera, influenza, AIDS, Ebola and other infectious diseases raise dystopic visions of human society and offer inspiring tales of human compassion. Often pitting humans against one another in a struggle for survival, epidemics and the stories told about them, often incite fear-based prejudice, expose problematic social assumptions, and thus provide an opportunity for a range of affective responses, social analysis, and critique. In this seminar we will consider the possibilities for responses, and for analysis and critique, that the literature of contagion offers, emphasizing in particular the relationship between the particular person and the larger groupthe individual body and the social body. After reading in the history of epidemics, we will ask how literaturefiction as well as memoircan help us to examine the relationship between the physical and social experiences of disease. Furthermore, examining historical depictions of plagues from centuries ago, we will consider the cultural work accomplished by current depictions of these long past events. What does a 1990s novel about the 14th-century plague tell us about particular cultural anxieties in the 1990s and after? Students will explore these ideas as well as the major themes and challenges that the literature of contagion presents in two shorter papers and a final paper. Requirements also include a group presentation, posts to the CANVAS discussion forums, and regular reading quizzes.
Rhetoric Courses
R209 Topics in Rhetoric & Public Culture: BUSINESS AND PROFESSIONAL SPEAKING
Kurt Zemlicka
12316 11:15a-12:30p TR 3 cr.
Business and Professional Speaking focuses exclusively on teaching students the speaking skills necessary to succeed in professional and non-profit environments. The course will cover topics in the use of presentation aids, interviewing strategies, the ability to present complex information in an easy to digest way, and making concise arguments that are persuasive in a professional context. The course is recommended for students looking to enter professional, non-profit, or public policy fields after graduation.
R210 Introduction to Digital Rhetoric
Scot Barnett
31009 2:30p-3:45p TR 3 cr.
This course explores communication practices in the digital age. Specifically, this semesters focus will be on the use of video as a writing tool. How does video construct meaning? How does one use video rhetorically? In this workshop-oriented course, we will examine how YouTube and other web-based video platforms have influenced the style and distribution of video media and where digital media rhetorics might be going from here. Over the course of the semester, we will discuss a range of theories and case studies in digital communication, including how issues of identity, power, and activism are extended and complicated through digital media. Additional requirements include two essays, an exam, a final digital video project, and class participation.
R211 Rhetoric and Sports
Justin Hodgson
16544 1:00p-2:15p TR 3 cr.
The sports industry is a financial and cultural behemoth that regularly responds to significant ethical and legal situations with little more than sound-bytes from public relations executives or leading figureheads. Combine that with the limited federal oversight into the governance and function of these multi-billion dollar entities, the intensity of media coverage and investigation with regards to the athlete/celebrity figure, the diverse cultural backdrops in which athletes emerge (with issues ranging from race to privilege, class to exploitation), and the ever-present role of social media and self-branding, and what we are presented with is a petri dish of rhetorical situations, ecologies, homologies, and practices. Given this dynamic, this course will ask students to be more than mere sports fansasking them to critically and creatively engage key sports issues, texts, artifacts, and moments in exploring the intersections of sports, rhetoric, and culture.
R224 Persuasion
Kurt Zemlicka
12830 4:00p-5:15p TR 3 cr.
Advocacy and Debate centers on the role of debate in public life and its applications for public advocacy and democratic institutions. Over the course of the semester, students will read foundational theories of the role of debate in democratic societies and engage in multiple competitive debates against other classmates. The course culminates in tasking students with formulating and executing a group advocacy campaign related to the topics debated over the course of the semester. Recommended for students interested in pre-law, or considering entering non-profit, public policy, or advocacy fields after graduation.
R228 Argumentation and Public Advocacy
Freya Thimsen
15489 1:00p-2:15p MW 3 cr.
Argumentation techniques are powerful tools that can be used for pure self-interest and consolidating power or promoting policies that help people and serve the greater good. As we learn about different kinds of rhetorical advocacy you will have the chance to develop your own sense of how you would like to use argumentation as a citizen who is concerned about the common good. You will learn specialized terms to describe how persuasion functions on the surface and deeper levels of public culture. Topics may include presidential campaign rhetoric, mythologies of the American past, how university research establishes credibility, how nationalist identity fosters political change, and the role of emotion in democracy. You will practice argumentation in friendly classroom debates.
R305 Rhetorical Criticism
Cindy Smith
16545 2:30p-3:45p TR 3 cr.
R305 is a course in the practical art of rhetorical criticism. It focuses on the application of a variety of critical tools to communication artifacts. Those tools will help us discover how persuasive messages are formulated, why they work the way they do, whose interests are being served in their production, and what the implications are for human beings of "buying in" to what were being sold. While rhetorical criticism originates in the study of speeches, in this class you will have the opportunity to examine many different kinds of communication artifacts including television, speeches films, photographs, museum exhibits, and much more. R305 enables you to write about the kinds of artifacts that interest you, with guidance from me. Rhetorical criticism can be a life-changing experience. Through it, we can better understand the strategies and motives of the myriad of communicative texts we experience every day.
R355 Public Memory in Communication and Culture: RUINS
Saul Kutnicki
33877 11:15a-12:30p MW 3 cr.
Fine Arts (FA) Room 010
Examines the contested nature of public memory in the context of ruins and physical sites altered by decay, obsolescence, and abandonment. Focuses the study of communication and culture on concrete issues significant to public memory that can be analyzed through objects impacted by ruination. Credit given for only one of ENG-R 355 or CMCL-C 355.
This course introduces students to a variety of cultural images and media materials related to pressing contemporary issues of ruination and decay. It explores media in terms of its aftermath and asks us to think about the values and attachments public memory has to visual depictions of ruins, abandoned physical sites, and ruined media artifacts themselves. The course readings and film screenings will trace the topic of ruins through various issues related to theories of media and link them to concrete ethical decisions and discourses about cultural heritage, representation, and historic preservation. We will explore these matters of concern by reading about abandoned industrial sites, fictional dystopias, and subcultures of place hacking. We will also watch films compiled by Bill Morrison that decay right before our eyes and try to understand why centuries old vampires in Only Lovers Left Alive (2013) dwell in the abandoned landscape of Detroit. Final projects for the course will consist of advocacy portfolios that address real world dilemmas affecting the fate of sights/sites of ruination, and provide students with an opportunity to improve their writing, professional speaking, project management, and graphic design skills.
R396 The Study of Public Advocacy: FEMINISM AND PUBLIC ISSUES
Freya Thimsen
32775 11:15a-12:30p MW 3 cr.
What does "feminism" mean today? Is there a single meaning? This class will examine controversial high-profile public issues such as sexual violence on university campuses, mandatory paid maternity leave, transgender identity and representation, the pink tax, and beauty culture. How do various advocates of feminism respond to these issues and how are those responses influenced by different feminist traditions and priorities? Students will write essays about each issue and do an in-class presentation on a topic chosen in consultation with the instructor.
R396 The Study of Public Advocacy: CRISES IN PUBLIC LEADERSHIP
Robert Terrill
14990 1:00p-2:15p TR 3 cr.
In this course we will focus our attention on key moments in the history of the United States that have seemed to call out for a public response. These are moments in which individuals in positions of public leadership have been expected to say something that addresses the crisis. Their words might have put the situation into historical perspective, calmed jittery nerves, encouraged steely resolve, motivated action, or have resulted in any number of other effects, both intended and otherwise. We will concentrate on select case studies from among these examples of public address and examine their context, tactics, and outcomes. Students will come away from this course with a rich vocabulary, drawn from the 2000 year old tradition of rhetorical studies, through which to describe and evaluate speeches delivered by public leaders in moments of crisis. Students also will develop, and put into practice, a deep and expansive repertoire of rhetorical strategies that they can use themselves. In this way, this course will help to prepare students for their future careers as well as for their lives as engaged and effective citizens. Speakers we study may include: Abraham Lincoln, Booker T. Washington, Angelina Grimké, Susan B. Anthony, Ida B. Wells-Barnett, Franklin Delano Roosevelt, Albert Einstein, Martin Luther King Jr., Malcolm X, Fannie Lou Hamer, Ronald Reagan, Steve Jobs, Emma Watson, Barack Obama, Donald Trump, and Hillary Clinton.
R397 Visual Rhetoric
John Arthos
31008 9:30a-10:45a TR 3 cr.
The "video essay" has within the last couple years become an exciting new genre of film criticism. Critical commentary on movies is presented as a visual and audio experience in the same medium as the works it considers. Each student in this course will create a substantial "video essay" as a capstone project, 'quoting' scenes from films, using your own voice-over commentary, and creating a personal video aesthetic to share your critical analysis. Well be mastering Premiere and other post-production software to create these video essays. The subject of the course is movie genres. Each student will focus on a genre of your choice, discover through research what kind of cultural work that genre does, and select a film that in some way extends, complicates, or subverts the genre in an interesting way. Your video essay will show and tell how your film does that. To prepare for this major project, we will study film genre theory, watch classic genre movies, and learn how to do serious genre criticism. You can find out about this exciting new form of the "film essay" here. NOTE: Having a laptop is a requirement for this computer-intensive course.
R398 Culture, Identity and the Rhetoric of Place: THE RHETORIC OF ARCHITECTURE
Cindy Smith
9584 11:15a-12:30p TR 3 cr.
This class provides an introduction to the study of the built environment from a rhetorical perspective. It does so based on the assumption that the built environment is rhetorically constructed and therefore both reveals and influences the social values and issues of the past, present, and future. Taking a rhetorical approach to architecture provides a materially-focused way to understand our society, to assess its values and behaviors, and to evaluate the implications of those values and behaviors for human beings. Even more specifically, architecture and its corresponding discourses function to shape certain kinds of citizens. In other words, architecture both addresses and shapes its audiences; it "produces" people. We will see that the shaping process of architectural rhetoric operates along a continuum between the overt and intentional to the inadvertent and unforeseen. The course explores the persuasive dimensions of places and spaces people build and that simultaneously shape those people. It examines how structures like buildings, theme parks, and housing developments are the product of strategic communication choices designed to influence how we think and behave.
Creative Writing Courses
W301 Writing Fiction
Bob Bledsoe
14228 1:00p-2:15p TR 3 cr.
In W301, we will read short stories (and perhaps a novel) by those considered masters of the genre. I will expect you to put your analytical skills to use in reading like a writer and taking stories apart according to their craft elements. I will ask you to write a few short creative assignments, and analytical essays in addition to writing two stories to share in workshop. To obtain permission to enroll, submit form at: http://www.indiana.edu/~engweb/permissions.shtml.
W303 Writing Poetry
Romayne Rubinas Dorsey
11650 2:30p-3:45p TR 3 cr.
I am broadening W303s traditional scope this coming spring to explore the in-between or hybrid genres of prose poems, microfictions, lyric microessays, and perhaps even verse plays, and poetry comics. Anyone interested in building their writing skills across the genres of poetry, fiction, or nonfiction will benefit from the course. Possible writers whose work we will consider: Russell Edson, Ntozake Shange, Eula Biss, Claudia Rankine, Genine Lentine, Anne Carson, Solmaz Sharif, Nin Andrews, Christopher Citro, CD Wright, and Forrest Gander. To obtain permission to enroll, submit form at: http://www.indiana.edu/~engweb/permissions.shtml.
W381 The Craft of Fiction
Bob Bledsoe
12378 4:00p-5:15p TR 3 cr.
This course will focus on the most important elements of craft in fiction. We will focus on reading like writers, examining both the content and the technique writers employ to create their fiction. We will also write a series of short exercises intended to stimulate new writing. Our goal will always be to push our understanding of fiction writing and encourage each other in class discussions. To obtain permission to enroll, submit form at: http://www.indiana.edu/~engweb/permissions.shtml.
W401 Advanced Fiction Writing
Samrat Upadhyay
31139 11:15a-12:30p TR 3 cr.
In this course you will deepen your study of the craft of writing fiction. You will read selections from an anthology as well as one or two story collections. A large part of the course will be in the workshop format, where you will read and discuss one anothers work. Expect to write three to four stories during the semester, and also to provide written critiques on your colleagues work. The aim is to deepen your understanding of the fiction through writing, reading, and critiquing. You will also do individual presentations, in which you will discuss your literary interests and books that have inspired you. The course will challenge you by pushing you into new arenas of form and content. To obtain permission to enroll, submit form at: http://www.indiana.edu/~engweb/permissions.shtml.
W403 Advanced Poetry Writing
Stacey Brown
35709 PERM ARR 3 cr.
*Above class meets second eight weeks only, and is a hybrid course.*
This class will build upon the skills, language, and tools that youve acquired in your previous study of poetry by reading contemporary poets, discussing advanced concepts of technique and craft, and workshopping and revising your own original poems. Group work will include generative writing exercises as well as field trips and campus explorations to seek out subjects beyond our own stories and work with poetic constructs such as persona and ekphrastic poetry. We will also read and discuss essays on craft. But the majority of the work will be the creation, workshopping, and revision of the students own original poems. Requirements include 500-word responses to several assigned poems, the creation of one broadside (a poem rendered on a medium other than the page), and a final portfolio that will include the original and revised versions of the poems workshopped over the semester. To obtain permission to enroll, submit form at: http://www.indiana.edu/~engweb/permissions.shtml.
W413 Advanced Creative Nonfiction Writing
Cathy Bowman
16972 2:30p-3:45p TR 3 cr.
In this class we will practice the art of the memoir and the creative essay. We will look at notable personal essays and memoirs, past and present. We will work together to figure out our subjects and structures. We will focus on self, family, community, environment, memory, perception, observation, and perspective. How do we write and reveal our exterior and interior consciousnesses? We will work on craft, technique, and voice through several exercises and prompts. In this workshop-based class, we will comment on and critique our essays and longer creative projects. To obtain permission to enroll, submit form at: http://www.indiana.edu/~engweb/permissions.shtml.
Public and Professional Writing Courses
W240 Community Service Writing: GOING PUBLIC: WRITING WELLNESS IN THE COMMUNITY
Joan Linton
14920 9:30a-10:45a MW 3 cr.
N.B. This service-learning course requires a minimum total of 20 service hours over 10 weeks. Because W240 fulfills an IW requirement, you can expect frequent writings and revisions throughout the course.
Most of us are familiar with the conventions and requirements of writing and research within our academic disciplines, over time developing proficiency as communicators. How do we adapt these skills in the service of others, relocating the writing self from the academy to the community? How do we reorient ourselves from being professionals in training to being engaged citizens, addressing public audiences on public issues in public venues? What responsibilities come with citizenship, and how do we develop a voice that goes beyond our individual and academic needs and interests to address larger public issues? Going Public aims to help students develop as public communicators through a holistic approach to wellness in the community. This course invites students to practice and expand the critical skills of synthesis and analysis, and rhetorical skills of persuasion through service, writing, and research in the community. In going beyond the classroom, students will develop the knowledge and understanding needed to address issues of concern to the community, and find their own voice in communicating this knowledge to public audiencesthe very people whose lives are affected by these issues. Both your service and your participation in class activities will provide a rich basis for your written assignments. These will include: public service writings for a community agency, reflective essays, and a research paper on a topic related to your service.
W321 Advanced Technical Writing
Scot Barnett
11567 11:15a-12:30p TR 3 cr.
The purpose of this course is to give you practice writing within professional situations. You will write to a variety of audiences using a variety of common genres (including proposals and progress reports). Along the way, you will consider the ways writing functions rhetorically within situations such as the workplace by drawing upon and discussing various theories of rhetoric applicable to the study and production of professional documents. Planning and revision will feature prominently, and you will be able to take advantage of in-class workshops to get feedback on your writing.
W350 Advance Expository Writing: RHETORIC, PLAY, AND GAMES
Justin Hodgson
5827 9:30a-10:45a TR 3 cr.
In the wake of the video game explosion in the early 1990s, scholars began to investigate the teaching/learning potential of games, the knowledge-making practices of games, and the cultural implications of games. Not surprisingly, games have been exceedingly fruitful for these discussions: from understanding how games offer immersive learning models (cf. James Paul Gee) to how games, based in critical theories of play, have proliferated the histories of humanity (cf., Johan Huizinga). Beyond those considerations, games offer us access to wide range of conversations, from narrative theory to new media practices. Add to this the fact that the gaming industry rivals the cinema industry in terms of yearly sales, and we see not only a cultural shift occurring but also a need to critically and creatively consider the rhetorical possibilities emerging with games. As such, this course will focus on gaming rhetorics: from rhetorical considerations of ludology (theories of play) to conversations on social media, games, and gaming communities, to serious games (games designed to make critical/cultural commentary or to engage in civic/social issues). Along the way, students will be asked not only to read texts on games and game theory, but to play games. Playing will be a central part of this course. And students will be asked to use those play/gaming experiences to inform their research, writing, and digital making activities. Course artifacts will include readings from James Paul Gee, Johan Huizinga, Roger Caillois, Mary Flanagan, Ian Bogost, Jesper Juul, and Jane McGonigal (as a sample) and a few targeted games (ranging from Candy Crush to World of Warcraft, as potential examples).
W350 Advance Expository Writing: GLOBAL CIVIC ENGAGEMENT
Katherine Silvester
12374 1:00p-2:15p TR 3 cr.
This class is limited to multilingual speakers who have completed the IU Gen Ed requirement for English Composition (EC).
Global Civic Engagement is an advanced writing course focusing on the interconnected activities of reading and writing in cross-cultural contexts of community-based research and service learning. Students will work directly with agencies and community groups on developing writing projects and research reports that address local, social issues from global perspectives. Course readings and in-class activities will provide the necessary scaffolding and heuristics for engaging in public writing and community partnership; trouble-shooting writing projects that develop through cross-cultural, civic engagements; and shaping writing for specific audiences. You can expect to develop your writing projects through successive drafts and receive helpful feedback on your writing at different stages in the writing process. Language support through embedded tutorials and in-class practice activities will facilitate the success of multilingual writers who are writing in English as an additional language. This course will appeal to international students and multilingual writers seeking to gain, valuable experience writing for non-profits, public advocacy, local government, and civic engagement and for those seeking to enhance their writing ability in community and public writing contexts. This is a service-learning course that requires a minimum of 20 service hours. This course fulfills the intensive writing (IW) requirement.


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Forex Strategies
"Ichimoku" is a Japanese word that means "one look." With one look, chartists can identify the trend and look for potential signals within that trend. This charting technique was created by a Japanese newspaper writer, Goichi Hosada. He spent thirty years perfecting the technique before releasing his findings to the general public in the late 1960s.
What is Ichimoku Indicator?
It is a technical indicator that a trader can use to gauge an asset's trend, momentum and support and resistance points without the need of any other technical indicator.Ichimoku comprised of five lines, as follows:
- Tenkan sen
- Kijun sen
- Chikou span
- Senkou Span A
- Senkou Span B
Tenkan sen
Unlike typical simple moving average, where the day's closing price is taken and calculated, Tenkan sen is calculated as (HIGHEST HIGH + LOWEST LOW)/2 for the past 9 periods
The Tenkan Sen is an indicator of the market trend. If the Tenkan sen is moving up or down, it indicates that the market is trending. If it moves horizontally, it signals that the market is ranging. The sharper the angle of the Tenkan sen line, the stronger the trend while the flatter the Tenkan sen line, the slower the momentum of the move. Notice that it follows price action the closest.
Kijun sen
Kijun sen is calculated using (HIGHEST HIGH + LOWEST LOW)/2 for the past 26 periods.
The Kijun Sen acts as an indicator of future price movement. If the price is higher than the Kijun sen, it could continue to climb higher. If the price is below the Kijun sen, it could keep dropping. Notice that it trails the faster Tenkan sen, but follows price action pretty well.
Moreover, since Kijun sen line uses a longer period of time to gauge price action, it is a more reliable technique for defining the direction of the trend than the Tenkan sen line. And since the price is akin to this line during a strong trend, it can act as a stop loss for traders already in the correct direction of the trend. Hence, the trend ends when the price breaks or closes below it by a substantial quantity.
Applications of the Tenkan and Kijun
The most common application of the Tenkan and Kijun lines are the 'cross' referred to as the Tenkan-Kijun Cross.
An upward cross means a possible upward trend while a downward cross implies a possible downtrend. A generic upward cross can be used as a generic bullish signal and a generic downward cross can be used as a generic bearish signal.
Goichi Hosada went even further to give another definition of the cross based upon its position in relationship to the cloud.Weak Cross:
It is considered a weak signal if the cross is below the Kumo; since the cross is below resistance.Medium Cross:
It is a medium signal when it happens inside the Kumo; the cross occurs within the field of support/resistance.Strong Cross:
The strongest signal is when the cross occurs above the Kumo for a bullish cross, or a bearish cross below the Kumo. This is because the cross is occurring after the price action has cleared the support or resistance – that being the Kumo.
The vice versa is true for the bearish signals.
Chikou Span
This is shown on the chart as a lagging line behind the price. In the chart below, it is the green dotted line and it is calculated as CURRENT CLOSING PRICE time-shifted backwards (into the past) 26 periods.
Chikou Span is one of the unique feature of Ichimoku.
Why is Chikou Span shifted 26 periods back? The answer becomes clear once you understand that a change in trend is a relative state. For example, if the trend is up and it continues to go up, then there is no change in trend. By shifting it backwards 26 period, we can compare the current price level to how it looks like, 26 periods ago.
With a glance of the position of the current price level and Chikou Span, we can quickly identify if the trend is changing and is it going to break through any possible support or resistant levels.Some rules:
- If current close price is higher than that of Chikou Span at 26 periods ago, then we can safely say that the likelihood of more bullish price action to go and vice versa.
- If Chikou Span cuts through the price line with no kumo resistant in sight, we can assume that the trend is bullish.
- If Chikou Span cuts through the price line with kumo resistant ahead, we can expect resistant levels.
Senkou span A is calculated as (Tenkan-sen + kijun-sen)/2 plotted 26 periods ahead.
Also called leading span 1, this line forms one edge of the kumo, or cloud.
If the price is above the Senkou span, the top line serves as the first support level while the bottom line serves as the second support level.
If the price is below the Senkou span, the bottom line forms the first resistance level while the top line is the second resistance level.Senkou span B
Senkou span B is calculated as (highest high + lowest low)/2 calculated over the past 52 time periods and plotted 26 periods ahead.
Also called leading span 2, this line forms the other edge of the kumo.
Cloud (Kumo)
The Cloud (Kumo) is the most prominent feature of the Ichimoku Cloud plots. The Senkou Span A (green) and Senkou Span B (red) form the Cloud.
There are two ways to identify the overall trend using the Kumo. First, if the price is above the Kumo, then there is an uptrend in place and/or more buying opportunities; and if the price is below the Kumo, then it is under resistance and it is better to be looking for shorts instead of longs; and if the prices are in the Kumo, then it is flat. Second, the uptrend is strengthened when the Senkou Span A (green cloud line) is rising and above the Senkou Span B (red cloud line). This situation produces a green Cloud. It is important to remember that bullish signals are reinforced when prices are above the cloud and the cloud is green.
Conversely, a downtrend is reinforced when the Senkou Span A (green cloud line) is falling and below the Senkou Span B (red cloud line). This situation produces a red Cloud. Remember, the entire Cloud is shifted forward 26 days. This means it is plotted 26 days ahead of the last price point to indicate future support or resistance. It is important to remember that bearish signals are reinforced when prices are below the cloud and the cloud is red.
The longer price action stays above or below the Kumo, the stronger the trend and the more support/resistance the Kumo offers. The farther the price action is from it, the stronger the trend and more volatile it is.
How can we use Kumo for Reversals?
If the price is clearly above or below it, then when price action breaks the kumo, it can often signal a reversal.
Signal SummaryBullish Signals:
Price moves above Cloud (trend)
Cloud turns from red to green (ebb-flow within trend)
Price Moves above the Kijun sen (momentum)
Tenkan sen moves above Kijun sen (momentum)
Price moves below Cloud (trend)
Cloud turns from green to red (ebb-flow within trend)
Price Moves below Kijun sen (momentum)
- Tenkan sen moves below Kijun sen (momentum)
The Ichimoku Cloud is a comprehensive indicator designed to produce clear signals. Chartists can first determine the trend by using the Cloud. Once the trend is established, appropriate signals can be determined using the price plot, Tenkan sen and Kijun sen. The classic signal is to look for the Tenkan sen to cross the Kijun sen.
The Ichimoku Cloud can also be used in conjunction with other indicators. Traders can identify the trend using the Cloud and then use classic momentum oscillators to identify overbought or oversold conditions.


text:
--- In firstname.lastname@example.com, Sandy Ives <rives@r...> wrote:
> I have either 21 or 27 seedlings from the cross, all from the same pod.
> They are planted together in a seedling bed at 'the Farm'. Most of
> you see in the group shot is Sgt P X Sea P. All are quite healthy and
> some are sending out a second fan.
> Invariably, my father's farm yields better growth than my back yard, no
> matter what I do with the soil.
> Hasn't been a good year for setting seed. I've harvested a single
> of 'Tiny Titan' X 'Kuza Nuna'.
> Regards,
> Sandy Ives in Ottawa (Waiting for Ghio) ;-)
How many of these have purple leaf base? None of the variagated ones
seem to have it.
Have you ever got a seed pod off of Canadian Streaker?
Chuck Chapman
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This Green Goddess Smoothie is a healthy snack that's packed full of green fruits and veggies. This is one smoothie you're not going to get enough of!
Besides smoothies, there are 10 staples that I can't live without in my healthy kitchen. Grab this free guide and stock your kitchen just like mine.
I love smoothies. I could drink one for every meal. I wish I could drink one to start each and every morning to start my day off. Unfortunately, though, I leave the house at 6:30 in the morning while everyone's sleeping, and I'm pretty sure they wouldn't appreciate the very noisy sound of the blender+ice to wake them from their slumber. So instead, I have a small smoothie as an after work and school snack with my son many afternoons.
And then there's Saturdays. My favorite day of the week. Saturdays are my day. My son is with his dad, and the wife is at work, so I have free reign of the entire day. It's usually full of yoga, blogging, reading, watching food documentaries and Cupcake Wars, and of course eating the greenest of greenest food possible. My family does a great job at putting up with my meatless meals, and I do my best to make them as family-friendly as possible, but I know that on Saturdays, I don't have to cater to anyone but myself.
So what did I make myself this Saturday? I thought of everything green I could to put in this smoothie. If my green grapes hadn't rang up for eleven dollars, they would have been thrown in the mix (so feel free if you're so financially inclined – it just wasn't happenin' for this budget). Veggies, fruit, and leafy greens. It all got thrown in the mix without a second thought. I knew it would be delicious.
You should have seen me in my excitement. I was starving after yoga and a quick stop for the produce, so when I got home, it was frantic. I took my shoes off, but the scarf and coat remained on. There was no time to bother with coat removal. Prepped the fruit, hurried and photographed it. Blended super quickly, photographed as fast as I could, coat still on.
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Hotels in Durup
Hotel reservation
Hotel rooms in Durup
There are not so many hotel rooms in Durup, just 1, still everyone can find an offer to suit his choice. The most common offers in this city are guest houses, they count 1 out of 1, and their prevalent location is central district. According to our practice, it is the most profitable to book a hotel in the south of Durup, as it is the location of the hotels with optimal cost and quality offers along with the cheap hotels. Taking into account the small size of the city, there is no need to dwell hotel reservation on the location: the road to the city center would take less then half an hour, so one can book a hotel in any district of Durup. The most populated with hotels district of Durup is the south, 100% of cheap hotel rooms are concentrated here. Durup is a truly multifaceted city, here everyone can find a hotel of his choice: a business person, a young couple or a family with little children. Take a look at our selection of the cheap hotel rooms in Durup to make a well-informed choice for your reservation!
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All cities in Denmark


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New Cinema 4D R18 Review at http://www.c4dcafe.com/ipb/blogs/entry/124-maxon-cinema-4d-r18-review-by-brady-betzel/
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Welcome to C4D Cafe forum, largest CINEMA 4D forum and best place to learn CINEMA 4D and 3D in general.
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Advances in PCR Technology and Its Applications in Healthcare Research
Breaking Through Barriers between Benchtop and Bedside
Cannibalism: A Biological and Evolutionary Perspective
Sounds of Science Podcast
Ubiquitin System: The Next Class of Drug Targets?
A Complex Role in Cellular Process & Growing Tool Set to Elucidate It
Bispecific Antibodies Close in on Cancer
Plotting Molecular Pincer Movements, Denying Cancer Room to Maneuver
MedImmune Gains License to Trellis' Preclinical RSV Antibodies
Trellis Bioscience has granted MedImmune a worldwide, exclusive license to its preclinical-stage antibodies directed against respiratory syncytial virus (RSV). The deal could be worth up to $338 million to Trellis should a product resulting from this arrangement reach the market.
MedImmune, part of AstraZeneca, will pay Trellis an up-front cash payment as well as fees for potential development, regulatory, and commercial milestones. Trellis has advanced the antibodies to IND-enabling studies, and MedImmune will take over further preclinical and clinical development. MedImmune will also be responsible for worldwide commercialization, while Trellis stands to earn royalties.
MedImmune is also developing a vaccine to help prevent RSV. Additionally, last year it submitted an NDA for an anti-RSV antibody called motavizumab.
Trellis' RSV antibodies were identified using its CellSpot discovery platform, which allows high-throughput screening of human B cells in a multiplexed format. This enables identification and isolation of rare human antibodies produced from the B cells of RSV-infected patients, the company points out. CellSpot also allows for simultaneous measurement of up to 10 antibody characteristics from single antibody-secreting cells, including probes for specificity and affinity, Trellis continues.
With CellSpot, Trellis has focused on infectious diseases. The RSV program is the most advanced, followed by antibodies against cytomegalovirus that are at the lead-optimization stage. The company is also conducting lead identification in influenza and has two antibacterial programs at the target-validation stage.
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Education in the United States is mainly provided by the public sector, with control and funding coming from three levels: state, local, and federal, in that order. The common requirements to study at a higher education level in United States will include your admissions essay (also known as the statement of purpose or personal statement), transcript of records, recommendation/reference letters, language tests
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Online website half done, requires debugging and setup
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Daily Word Problems Gr. 4
The weekly themes in grade 4 present a wide variety of topics - school supplies, swimming, astronomy, sharks, weather. Math skills practiced include: addition and subtraction facts, multiplication and division facts, multi-digit addition and subtraction with and without regrouping, multiplication with and without regrouping, division with and without remainders, telling time, money, fractions, reading and interpreting graphs and charts, estimation, logic problems. 112 pages. by Doug Wurst and Jo Ellen Moore
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Milwaukee 2-3/4" Pilot Drill Bit for Hole Saw Arbors
Replacement pilot bit for use with Arbor model 49-57-0035 which can be used for both steel plate and sheet metal carbide tipped hole saws. This bit is standard equipment.
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|Contact: Betsy Sales/Thom Serafin
Serafin & Associates
(312) 943-1955
Arlington Heights, IL -- Leading corporate, civic and political leaders have volunteered to be a part of the Breeders' Cup World Thoroughbred Championships Host Committee. Co-chaired by Governor Ryan and Mayor Daley, the purpose of the Host Committee is to help promote Chicago and Illinois as well as raise awareness for the Super Bowl or World Series of racing. The 19th Breeders' Cup World Thoroughbred Championships, consisting of eight races with purses and awards totaling $13 million, will be run on Saturday, October 26 and will be televised live by NBC Sports.
"Hosting the Breeders' Cup is an excellent opportunity to showcase our City and State to the World, and we are delighted that such an incredible group of individuals has agreed to help our efforts," said Richard L. Duchossois, chairman of Arlington Park. "In addition to hosting nearly 25,000 out of state and international visitors, NBC will be broadcasting a full 5 hours of programming originating from Arlington Park." The economic impact to the area is estimated to be in excess of $54,000,000.
Both the City of Chicago and the Village of Arlington Heights have been actively preparing for a gamut of festivities to help highlight this international event to both visitors and residents.
This will be the first time that Arlington Park will host the Breeders' Cup World Thoroughbred Championships and the first time that the Championships will be held in the Midwest. During its 18-year history, the Breeders' Cup has been held at Aqueduct Racetrack and Belmont Park in New York, Churchill Downs in Kentucky, Hollywood Park and Santa Anita Park in California, Gulfstream Park in Florida and Woodbine Racetrack in Toronto.
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- Product Details
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text:
The Institute of Fiscal Studies was busy last week. First, the IFS calculated that the Government's public-sector pension reforms will not save the Exchequer any money.
The problem is that so much ground has been given to the unions, and more pertinently the Lib Dem part of the coalition, that there will be no cost saving. It's depressing that we have been through strikes and a year or so of mud-slinging to reach such a situation.
It means, of course, like the Labour government's agreement with the unions, that we will have to go through it all again in the near future because the sums do not add up. It's as I feared when the details came out about the compromise being proposed by the Government. It's gone too far. The argument for me isn't about who has the better pension, public or private, it's that the private sector is taking on the investment risk for those in the public sector. And, according to the IFS, that will still be the case despite the reforms.
The IFS's other area of activity last week was its recommendation for the upcoming Budget.
It put the case for a tax cut to ease the economic situation. Now with the UK's budget deficit worse than Greece's you'd think that this was a mad time to cut taxes, we need every penny we can get.
However, the crisis in the eurozone is dragging our economy down, and although it would be a massive error for the Government to go back on its public-sector spending cuts – this is necessary to rebalance the economy back to more productive private enterprise as well as keeping the international markets on side – putting some money in people's pockets right now could be just the tonic needed to see the economy out of this dip. A few billion given back in the Budget could mean much more gathered through the tax-take from greater economic activity.
It would help consumers who are being squeezed by higher prices and poor wage settlements and lift the mood a little. Confidence is key to avoiding a dip turning into a full-blown recession. There is a small amount of wiggle room: the markets will understand as long as the programme of public-sector spending cuts is restated and the IFS is right to suggest the Chancellor takes this opportunity.
Future penury
So much for enjoying your golden years. Pension provider Friends Life has produced a report on the future home of the pensioner. And instead of relaxing in an armchair to a bit of Countdown and a sweet sherry in the afternoon, we face having to manage a host of cottage industries to fend off abject poverty.
Pensioner homes will be part-time work places with silver surfers flogging their prized possessions on eBay, tutoring or even managing a crèche. Our later life could be more manic than our working one, according to Friends Life, unless we save sufficient amounts in, guess what? A pension.
One way though that pension providers could save us from old age penury and toddler lassooing is by lowering their charges. Last week, a study showed that someone paying £200 a month into a pension over 25 years could expect to pay £20,000 extra in charges between the highest and lowest charging pension plans.
True and Fair
On the subject of charges, the True and Fair campaign was launched by husband and wife team Alan and Gina Miller last week. Both are names in the City and, with the backing of consumer groups and a smattering of MPs, the dynamic duo would like to see a clearer explanation of fund charges given to investors.
At present we have a plethora of small charges loaded on investment funds with no easy way to tell which funds are cheap and which expensive. In fact, all too often the huge number of poor performing funds are able to get away with charging the same as the best performers.
Now putting aside the subject of what passes for pillow talk in the Miller household, we are long overdue real transparency in this sector and I hope there will be some real momentum behind them. Last week a couple of managers cut charges on some products. But the fear is that those paying lip service to more transparency will return to the old ways as soon as the fuss dies down. It is, after all, easy money.
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Hotfrog SouthAfrica provides information regarding Simon's Town Quayside Hotel in Cape Town Western Cape. Simon's Town Quayside Hotel is located at Jubilee Sq, Cape Town Western Cape 7975 and provides Travel services. Contact them on 021 786 3838 or by visiting them on their website http://quayside.ahagroup.co.za.
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142 VOORTREKKER RD Cape Town Western Cape 7500
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4 Perfecta Rd Cape Town Western Cape 7405
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4301 W SKYLINE DRIVE DR Maeser, UT 84078
Hi, Blueroof 360.
My name is
and I have a question about 4301 W SKYLINE DRIVE DR Maeser
You can respond by either emailing me at
or call during
My Question Is:
Estimated Monthly Payment$5,051
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- Status: Active
Listing courtesy of New Star Real Estate LLC
Beautiful views from the top of yellow hill! Large .62 acre lot is ready to build your dream home! 360 degree, breathtaking views year round. All information is provided as a courtesy, buyer to verify.
Interior Features Include:No Information Available.
Exterior Features Include:
Acreage: 0.6200 Acres
Lot: Corner Lot, Terrain: Flat, Terrain: Hilly, View: Mountain
Driveway Dirt
Other Features Include:
Subdivision: YELLOW HILL ESTATES
Water: Stubbed
Sewer: Public Avail
Utilities Gas: Not Available, Power: Available, Sewer: Available
Culinary Water Stubbed
Irrigation Not Available
Taxes 1
School District: Uintah
Information deemed reliable but not guaranteed accurate. Buyer to verify all information.The multiple listing information is provided by Wasatch Front Regional Multiple Listing Service, Inc. from a copyrighted compilation of listings. The compilation of listings and each individual listing are © 2014 Wasatch Front Regional Multiple Listing Service, Inc., All Rights Reserved. The information provided is for consumers, personal, non-commercial use and may not be used for any purpose other than to identify prospective properties consumers may be interested in purchasing.