Download Department of English Fall 2016 Courses For our complete

Department of English Fall 2016 Courses
For our complete department schedule, visit https://banner.unf.edu/pls/nfpo/wksfwbs.p_dept_schd
CRN
81749
Course
AML2010
Title
American Literature I
Days
DL
Begin
End
Instructor
Jennifer
Lieberman
This interactive online class will introduce students to the rich range of pre-Civil War American
literature: from ghost stories to hot air balloon hoaxes, from tales of domestic drama to heart-rending
stories of slaves escaping captivity, from the words of our great founding national documents to the
pages of best-selling sentimental novels. Over the course of this semester, we will philosophize with
Ralph Waldo Emerson and Margaret Fuller. We will relive the debates of the Federalists and AntiFederalists and explore how women and Cherokee Indians took up the rhetoric of nation building to
fight for their own rights. We will explore the amazing benefits and serious limitations of the
industrial revolution, imagining how thrilling and potentially terrifying it would be to watch railroads
spread like spiders' webs across the countryside.
By the end of the semester, students will be able (1) to identify and analyze works that shaped our
literary and national history. They will be able (2) to define and experiment with important genres of
American literature. Most importantly, they will (3) explore what makes antebellum American history
so distinctive and engrossing that it continues to capture our imagination today.
82154
AML2020 American Literature II
TR
1340 1455 Bart Welling
80002
AML3041 Periods of Later Am Lit
TR
1340 1455 Bart Welling
The field of ecocriticism, or environmental literary criticism, emerged in the 1990s in response to a
pronounced lack of attention on the part of most literary scholars to issues upon which biologists,
philosophers, historians, and members of other disciplines had been focusing for some time—issues
ranging from the worldwide extinction crisis to global warming to the deliberate targeting of minority
communities by governments and corporations looking for convenient places to locate undesirable
production facilities and toxic waste dumps. Ecocritics (including me) continue to argue that studying
the role of place, environmental crisis, nonhuman animals, (bio)regions, and related topics in
literature can have a transformative impact on how we live, since literature is one of the most
powerful art forms humans have developed for representing where we are—and for imagining
alternatives to how we presently live in place. Rachel Carson’s Silent Spring (1962), which played a
decisive role in the banning of DDT and helped give rise to the modern environmental movement, is
one example of how literature really can change the world, and ecocritics have done much to
illuminate how this kind of change can happen.
This course aims to foster critical environmental thinking on your part by helping you build verbal and
written ecocritical arguments about the role of place in the literature and culture of the U.S., and,
conversely, about how American literature and culture have helped shape the places around us, from
oceans, deserts, and the iconic wilderness areas of the West to city slums, Indian reservations, and
long-forgotten New England villages. Instead of trying to convert you to environmentalism, my goal is
to help you learn to think ecocritically about American places and American literature.
81854
AML3031 Periods of Early American Lit
M W 1200 1315 Keith
Cartwright
“Narratives of Captivity & Captivation.” This course will examine the role played by captivity and
captivity narratives in American articulations with freedom. Freedom could only take on meaning in
the face of its other: slavery, captivity, unfreedom. The British writer understood the ironies of
Americans' revolutionary aspirations for freedom when he quipped, "how is it that we hear the
Department of English Fall 2016 Courses
loudest yelps for liberty among the drivers of Negroes?" This class will examine border histories and
boundaries between ourselves and our others as we read the captivity narratives of colonial women
and early Spanish explorers held by Indians, a number of slave narratives, narratives of captivity
within a state of sin, poems positioning marriage as a captive state, revolutionary rhetoric regarding
colonial status as captivity, and poets railing against the language's entrapment within convention.
We will also read narratives of captivation: the sublime experience of encounter with the American
wilderness or contact zone--particularly within Florida and the region of the Gulf of Mexico.
82857
AML3154 American Poetry
M W 1500 1615 Clark Lunberry
“New York, New York ... A Hell of a Town! (The New York Schools of Poetry, Painting & Music).” In this
class, we will be looking at the rich and varied cultural scene of New York City that emerged after WW
II, when New York was to become (supplanting Paris…or so they say) the “artistic capital of the
world.” To this day, the city remains a kind of magnet for poets and artists from all over the globe, as
they come to participate in and be enlivened by the particular energies still to be found in America’s
great metropolis.
Our initial focus will be upon the first generation of “New York School Poets,” such as Frank O’Hara,
John Ashbery, Kenneth Koch and Barbara Guest, while also looking at later groups of writers, the
“second generation New York School,” such as Ron Padgett, Joe Brainard and Alice Notley. Along with
these poets, though, we will also broaden our focus to include examples of New York School painters
(Jackson Pollock, Mark Rothko and Willem De Kooning), as well as New York School composers (John
Cage and Morton Feldman).
New York was (and is) a rich interdisciplinary environment in which the poets influenced the painters,
who influenced the composers, who influenced the poets…and on and on and on. We will do what we
can to focus upon the city in all of its dynamic and interdisciplinary entanglements.
82858
AML4242 20th Century American Literature
TR
1340 1455 Betsy Nies
The Gothic, Detective Fiction, and Science Fiction
This course will explore the history of contemporary detective and science fiction, examining the ways
the Gothic has historically informed these genres. Travelling back to Gothic beginnings, this course
will unpack the ways that genres transform across time, supporting various ideological agendas
unique to a particular historical moment. Students will write their own science fiction and detective
pieces, integrating knowledge from the course, unpacking their own location in history as makers and
producers of knowledge.
81158
CRW2000 Intro to Creative Writing
TR
800
915 Fredrick Dale
In this course, students will read works from a variety of literary genres, produce samples of work in
each genre, develop productive critiques of one another’s work within a workshop setting, and
revise at least one of their samples. This course is for students who want to develop basic skills in
more than one genre of creative writing.
80989
CRW2100 Intro to Fiction Writing
M
1800 2045 Mark Ari
What is creative writing in general and fiction in particular? What is a successful work of fiction?
What are its elements? What leads us to determine some elements are necessary while others are
less so? How do you recognize success in work you read or write? How do you compose work that is
more successful? What other questions might we ask, and why do we ask any of them? This course
addresses those issues, and you should keep them in mind as the semester progresses.
You will spend a great deal of time out of class reading fiction and writing critiques, as well as revising
your own fiction. All of this involves developing, sharpening, clarifying, and articulating your own
vision of the human world. To make anything better, you first have to find where and how it can be
Department of English Fall 2016 Courses
better. To get to that next level, you have to go right up the limit of what you can do and then take
the step into what you can’t yet do. It’s the mistakes that let you know you’re there, and it’s the
mistakes that afford you your best opportunities.
Even if you are simply exploring creative writing, testing the water to see if this is a place you’d like to
swim, then you are exploring yourself. And if you are already writer, this is a class devoted to helping
you become more yourself. In either case, it’s an endeavor worth breaking your brains over.
Experiment. Find something to laugh about, even or especially yourself. Bite the nail, open a vein,
and tend to the work at hand.
81010
CRW2100 Intro to Fiction Writing
TR
1630 1745 Marcus Pactor
81159
CRW2100 Intro to Fiction Writing
TR
1340 1455 Marcus Pactor
This course will help beginning fiction writers compose stories. We will discuss your work in a
supportive workshop environment, where you will get valuable feedback from both your peers and
your instructor. We will complete various exercises to help us tap and expand our imaginations. We
will read a wide selection of very contemporary fiction, which will help us see new possibilities to try
out in our work.
81199
CRW2100 Intro to Fiction Writing
F
1200 1445 TBA
In this course, students will study the basic techniques used by both canonical and contemporary
fiction writers to build convincing and compelling worlds, characters, and plots. Students will then
work to apply those techniques to their own fiction. They will develop the skills and techniques
necessary for both a productive critique of their own and one another's fiction, and for the in-depth
work of successful revision.
82155
CRW2201 Intro Creative Non-Fiction
M W 1330 1445 Mark Ari
Creative Nonfiction is the fastest growing genre in creative writing programs across the country. This
course introduces students to the imaginative possibilities of a genre that is factual but may be
radically subjective. Its methods have the narrative, dramatic, meditative, and or lyrical elements of
fiction, plays, and poetry. It can break the boundaries between genres. Any subject is open. Student
reading and writing will explore a variety of approaches to this exciting genre. Students will learn to
tap the reliable resources of imagination in the service of the real (whatever that may be). As well,
they will learn to read like writers, developing the skills needed to assist their fellow authors and
themselves in revision.
80990
CRW2300 Intro to Poetry Writing
TR
925
1040 Fredrick Dale
This workshop allows students to explore together the fundamentals of the craft of poetry. Students
will learn the difference between poetry and prose, as well as the ability to identify the attributes that
make poetry a unique and expressive art form. Students will learn basic terminology and close
reading skills in order to write analyses that demonstrate precision and sensitivity to the nuances of
poetic language. Students will read and memorize poems by master poets, whose work will be the
focus of our analysis. Learning to explicate great poetry will provide students with skills they can apply
to their own poetry, which will be the ultimate focus of this course.
81388
CRW2600 Intro to Screenwriting
M W 1630 1745 Stephan Boka
81390
CRW2600 Intro to Screenwriting
M
1800 2045 Stephan Boka
This course covers the basics of the craft of screenwriting such as formatting, story structure, theme,
character arc, and more. Students will pitch movie ideas, write a treatment, outline, and learn scene
construction for a feature film. Students will be required to participate in screenwriting workshops to
further develop their own work and apply what they've learned to the development of the work of
their peers.
Department of English Fall 2016 Courses
82156
CRW3610 Screenwriting Workshop
MW
1330 1445 Stephan Boka
Screenwriting Workshop will break down the screenwriting process into a scene by scene, page by
page, line by line analysis. Students are expected to write, read, and critique screenplays on a weekly
basis in an effort to produce a polished screenplay by the end of the semester.
82860
CRW2930 Writing Graphic Literature
TR
800
915 Russell Turney
Long dismissed as “simple” and “childish”, graphic literature (comics, graphic novels, etc.) has
exploded in popularity: both in terms of sales and praise from critics. They have become the source
material for very popular films, and innovative filmmakers acknowledge how graphic literature has
shaped their work. Increasingly, in scholarly study, graphic literature is seen as a valid, complex art
form. However, this course is not a history or survey of graphic novels or comics. First and foremost,
this is a writing course, in which we will use reading representative graphic texts, creating original
graphic texts of our own, and writing reflectively about both kinds of texts, to become stronger
writers, readers, and thinkers.
80987
CRW3110 Fiction Workshop
W
1800 2045 Mark Ari
Each of us, however long we’ve been writing, are wherever we are and hoping to get better. We are
always, every one of us, beginners. In this workshop, we indulge our impulses to storytelling and
fabrication. Maybe we do so in the service of some greater truth. Maybe we do it because we can
build worlds and that’s an exciting thing to do. Maybe we do it because there is something in the
human world that compels us to respond in this remarkable way we call fiction. I don’t know. You’ll
have to tell me. And while we’re talking about it, we’ll tackle technical concerns and seek methods by
which the reliable resources of imagination can be tapped in the service of our imaginations. We read
and write fiction. We talk and write about the fiction written by others. We bite nails and open veins
and tend to the work at hand. Experimentation is encouraged. Laughter is relished.
81541
CRW3110 Fiction Workshop
T
1800 2045 Marcus Pactor
We will write short fiction in a way or in several ways that we have never written short fiction before.
We will then share the results of our new writing with the class for public critique and
encouragement. Along the way, we will study some of the diverse approaches to short fiction in
contemporary literature.
81751
CRW3310 Poetry Workshop
M W 1200 1315 Mary Baron
During the course of the semester, students will respond to different kinds of assignment prompts to
develop their mastery of verbal craftsmanship. They will also read work by both active contemporary
poets and canonical poets. Students will critique and discuss one another's work in a workshop
setting in order to gain facility using language with precision.
82156
CRW3610 Screenwriting Wrkshp
M W 1330 1445 Stephan Boka
Screenwriting Workshop will breakdown the screenwriting process into a scene by scene, page by
page, line by line analysis. Students are expected to write, read, and critique screenplays on a weekly
basis in an effort to produce a polished screenplay by the end of the semester.
82861
CRW3930 Image/Text Workshop
M W 1500 1615 Mark Ari
The Image/Text Workshop is intended to allows students to create narrative works that combine
textual and pictorial elements into a unified whole. Students may explore interests in sequential art,
including graphic fiction and nonfiction; picture poetry; photo essays; and other options. Our focus
will be on storytelling but, for method and inspiration, we may consider works as varied as the
illuminated books of William Blake; the text-art of Braque, Magritte, Matisse, Ruscha, and related art
movements; Xu Bing; Kenneth Patchen’s picture poems; the graphic narratives of Eisner, Moore, and
Katchor; as well as more recent developments in new media. Student work will be developed singly
or in collaboration. Since this a workshop, we will emphasize developing vocabulary and
Department of English Fall 2016 Courses
thoughtfulness necessary for productive critique. Students will be asked to step outside of their
comfort zones. Stumbles and mistakes are relished, because they challenge us to figure out how to
use them. Experiment is encouraged. Laughter is an eternal hope.
81011
CRW4924 Adv. Fiction Workshop
R
1800 2045 Marcus Pactor
Students will continue to develop their skills in reading, writing, and critiquing, while also becoming
familiar with the submission and publication process. Projects that students will engage in may
include the following: development of submission portfolios; research on journals, magazines, and
online publication outlets; completion of submissions by sending out work for publication; and public
readings of student work.
82862
CRW4924 Playwright's Project
M
1800 2045 Pamela
Monteleone
This course is a workshop in playwriting and play making. The first three quarters of the course is an
intensive writing workshop designed to introduce students to the art and craft of playwriting.
Students will learn to write and master the 10-minute play format. The final quarter of the course is a
play making workshop. Students will select stage-worthy scripts from the plays written in the first
three quarters of the course and produce them. The play making workshop includes opportunities for
students to hold university-wide auditions, cast, direct, act in, publicize, promote and present their
plays in a final performance project for the university community.
81366
ENC2441 G(W) Writing for/about Music
DL
John Chapman
The learning objectives for ENC 2441: Writing For/About Music focus on interpreting (analyzing,
evaluating, and appreciating) the features and dimensions of musical and related texts and on
reflecting critically upon the human condition and experience. This course will focus on projects
designed to prepare students for academic and professional opportunities that will require them to
communicate and express themselves with written English. While maintaining an overall focus on
improving the writing styles of students in the class, the course will give students the opportunity to
develop portfolios, resumes, cover letters, blogs, liner notes, and performance reviews. All the
projects in this course have direct applications for career-minded music students, but the course will
also be open to non-music majors as well.
82867
ENC2450 Mathematics and Writing
M W 1200 1315 Brenda MaxeyBillings
As mathematician William Paul Thurston explains, “Mathematics is not about numbers, equations,
computations, or algorithms; it is about understanding.” In other words, understanding a
mathematical concept means more than producing and solving equations regarding it; it also means
translating that concept into logical, natural language. College-level mathematics students not only
familiarize themselves with the concepts and calculation techniques of the field, but they must also
employ language to interrogate and clarify their own thinking, to communicate their understanding,
to structure their verbal arguments, to assess and convey their problem-solving methods, and to
interpret the prose explanations they encounter in their mathematics textbooks and resource
materials.
This section of ENC 2450 addresses reading, writing, and rhetoric for mathematics. It introduces
rhetorical strategies for specific objectives: to better understand mathematical texts, to convert realworld problems into mathematical language, and to translate mathematical concepts into accurate,
natural-language explanations. Additionally, students practice how to produce research-based
writing, including the argumentative essay, in the field of mathematics. The coursework focuses on
the writing conventions and expectations of the field, and also examines how students might adjust
their writing to accommodate differing audiences.
Department of English Fall 2016 Courses
82868
ENC2451 Writing Topics: Health
M W 1200 1315 Clark Lunberry
“The Doctor Will See You Now: Writers as Doctors & Doctors as Writers, Anton Chekhov and William
Carlos Williams.” What is it that a good doctor and a good writer have in common? The most obvious
answer is that both must pay strict attention to that which is before them, to see lucidly and
intelligently, with care and compassion, describing (as if diagnosing) the unique facts and features of
the place, the person (the patient) before them.
Two of modernism greatest writers were—not coincidentally—also doctors: the Russian Anton
Chekhov (1860-1904) and the American William Carlos Williams (1883-1963).
And so, in this class, we will read a selection of short stories, poetry and plays of each of these
doctors/writers, seeking to understand more fully the ways in which their being doctors impacted
their being writers, and how the one vocation may have fed and fueled the other.
All of our readings will be the starting-off point for class discussions, your oral presentations (called
“close readings”), and finally, and most importantly, your own extended formal essays.
82869
ENC2451 Writing Wellness
DL
Shane
Leverette
82870
ENC2451 Writing Wellness
DL
Shane
Leverette
In this class, we will study writing, and we will be writing (and reading) about health and wellness.
Broadly, we can find wellness by remaining physically healthy, feeling emotionally and psychologically
balanced, and enjoying a sense of purpose and fulfillment. We will explore these and other factors
that influence our overall health and wellbeing as we work to understand writing techniques and
rhetorical situations.
82871
ENC2461 Writing About the Social World
M W 1630 1745 Laura
Heffernan
The course is designed to help you improve your grammar and your writing style. Our models of good
writing will be drawn from very recent sociology books -- on racial stereotyping, policing, higher
education, and housing -- that have reached broad audiences. We'll consider how authors such as
Claude Steele, Alice Goffman, Elizabeth Armstrong, and Matthew Desmond build narratives, explain
their research, engage with the work of other scholars, and persuade audiences. Our own classwork
will treat writing as a collaborative process: expect group writing exercises and an emphasis on
revision.
80479
ENC3250 Prof Comm: Copy Editing
M W 1100 1150 David
F
MacKinnon
81367
ENC3250
Professional Communication
M
1200 1445 TBA
81368
ENC3250
Professional Communication
TBA
The primary emphasis of this course is on the basics of professional communication-research,
organization, grammar/mechanics/style. We will also pay attention to the forms of professional
communication-letters, memos, and formal and informal reports.
81546
ENC3250
Prof. Comm: Advertising
M W 1100 1150 Ashley Faulkner
F
81547
ENC3250
Prof. Comm: Advertising
M W 1800 1915 Ashley Faulkner
In this course, we develop the virtues of professional communication—accountability, truthfulness
and understanding. We learn about our careers and the people in them. We read real-world
documents, discover what makes them successful, and learn from their success. We then write
reports, proposals, etc. that real people can use in solving problems. At the end of the semester, we
sound like professionals (not college students). The course has three units. Each unit culminates in a
Department of English Fall 2016 Courses
polished writing assignment of 1,000 – 1,500 words; at the end of the term, we produce a final
portfolio that includes revised versions of all three papers, plus a self-evaluation.
81548
ENC3250 Prof. Comm: Business
DL
Brenda MaxeyBillings
Numerous surveys of business leaders conclude that while writing operates as “a threshold skill,”
“companies spend billions annually correcting writing deficiencies” (National Commission on Writing).
By the time most college graduates enter the job market, they have spent years writing in an
academic environment, yet their employers remain dissatisfied. The critical difference is this: While
professors may penetrate through their students’ surface errors and lack of clarity, business readers
demand clarity, concision, and direct, plain English style.
This intensive distance-learning class focuses, therefore, on four cornerstones of effective
professional communication: (1) Surface correctness; (2) “Plain English” style; (3) Logical, Appropriate,
and Ethical Content; and (4) Document Format and Design. Students work toward improving the
quality and content of their professional writing and familiarizing themselves with various document
formats.
The coursework requires students to investigate rhetorical and visual features of communication;
research and formulate strong documents; master “plain English” stylistic skills; demonstrate
comprehension of written instructions; improve their writing’s grammatical, mechanical, and
syntactical correctness; and gain practice in the conventions of professional writing. During the term,
each student produces several professionally formatted documents/texts (correspondence,
employment materials, technical writing, case studies, etc.), and one formal online “presentation” to
the class.
82872
ENC3250 Prof Comm: CCEC Students
M W 1500 1615 Mikayla
Beaudrie
This course is intended for students in the College of Computing, Engineering, and Construction. The
primary emphasis of this course is on the basics of professional communication-research,
organization, grammar/mechanics/style. We will also pay attention to the forms of professional
communication-letters, memos, and formal and informal reports.
82873
ENC3250 Prof Comm: Food Writing
TR
925
1040 Jennie Ziegler
Through this course, students will learn and practice the craft of food writing, including but not
limited to feature and academic articles, literary food writing, food blogging, reviews, press releases,
recipe writing, and memoir. Students will learn not only how to highlight their writing skills but also
how to successfully examine the cultural, political, and historical rhetoric of food and nutrition and
employ these rhetorical tactics into their own texts.
82874
ENC3250 Prof Comm: Grant Writing
TR
1050 1205 Jennifer
Lieberman
Do you know of a community service organization that needs funding? Do you hope to start one of
your own? Do you want to fund your own research one day? Grant writing is an important skill that
could serve students in myriad professions—including students who want to help nonprofit
organizations, students who want to fund their own research, and students who want to give back to
their college and their community. We will begin by identifying the research and communication skills
necessary to write a successful grant. Over the course of the semester, students will compose and
submit actual grants for funding, gaining invaluable professional experience and potentially leaving an
actual impression on their community in the process.
Department of English Fall 2016 Courses
81035
ENC3310
Writing Prose
M W 1330 1445 James Beasley
In ENC 3310, we will examine three of the most widely-held writing rules in American institutions in
the 21st century: that every paper must have a thesis statement, every paper must be free from
grammar error, and every paper may only examine one topic. ENC 3310 is truly an intermediate
writing course. It serves as a pause, a time to examine the writing you have already done, but also a
time to anticipate and identify the writing you would like yet to do. We will examine the difference
between the effect your writing has had, and the affect you would like it to have. By taking this class,
you will become critically conscious of the artifice and constructedness of writing in American
academic institutions in the 21st century, which after many years of uninterrupted and unexamined
practice, may have become opaque or invisible to you. There will be no rubrics used in this course.
82875
ENC3930 Copyediting II
M W 1500 1615 Linda Howell
This course will focus on editing for fiction writers. We will examine and discuss editing for fiction and
work on short exercises throughout class. We will work with Mark Ari’s CRW 3110 Fiction Workshop
class and build an edited collection of their writings. Students should have already taken ENC 3250:
Prof Comm-Copyediting.
82876
ENC3930 President as Writer
F
1200 1445 Linda Howell
We will focus on the rhetorical and compositional aspects of presidential writings. We will read
writings from various presidents and other political figures. This course will also examine how
contemporary presidential candidates’ rhetoric and writing skills work in a highly mediated
environment.
82877
ENC4930 Social Media & Activism
M W 1630 1745 James Beasley
Slacktivism. Hacktivism. Brandivism. Students completing this course will not only be able to
understand the philosophical underpinnings of new media technologies, but also to utilize new media
technologies in the service of cultural analysis. Paul Mason writes, “Facebook is used to form groups,
covert and overt—in order to establish those strong but flexible connections. Twitter is used for realtime organization and news dissemination, bypassing the cumbersome ‘newsgathering’ operations of
the mainstream media. YouTube and the Twitter-linked photographic sites, such as Flickr, are used to
provide instant evidence of the claims being made.” In this class, we will be creating our own social
protest movement utilizing Facebook, Twitter, and Instagram, and also utilizing technologies such as
Augmented Reality Critiques and their interventions. There will be no rubrics used in this course.
80480
ENG4013 Approach to Lit Interpretation
M W 1630 1745 Alexander
Menocal
ENG 4013 introduces students to an array of critical concepts and interpretative approaches that
should help students improve their abilities to read literature critically. Throughout the semester, we
will employ the tools and techniques of literary analysis that students have practiced in other courses
to develop interpretations of three novels. These tools should help us identify specific patterns in
each text. For example: What important motifs structure the narrative? What is the narrative’s point
of view, and how is it significant? What kind of character is the protagonist: complex, dynamic, or
static? How does the setting contribute to theme, character, or conflict? In addition, though, ENG
4013 will guide students through the process of learning to formulate more complex interpretations
of literary and non-literary texts and to examine the political, psychological, and sociological
implications that these interpretations might raise. Andrew Bennett and Nicholas Royle’s An
Introduction to Literature, Criticism, and Theory will describe reading strategies and approaches that
should contribute to this end. Class discussions will model how these approaches might be deployed
in critical readings of the three novels. Students will continue to work on mastering these approaches
by refining their thoughts about the novels in several analytical assignments (two passage analysis
assignments and one essay).
Department of English Fall 2016 Courses
82878
ENL2012
British Literature I
TR
1215
1330 Dwight
Gabbard
82879
ENL3501
Periods Early British Lit
TR
1215 1330 Dwight
Gabbard
Are you a wit? Are you judgmental? In 1690, the philosopher John Locke wrote: “For wit lying most in
the assemblage of ideas, and putting those together with quickness and variety, wherein can be
found any resemblance or congruity, thereby to make up pleasant pictures and agreeable visions …;
judgment, on the contrary, lies quite on the other side, in separating carefully, one from another,
ideas wherein can be found the least difference, thereby to avoid being misled by similitude, and by
affinity to take one thing for another.”
Which one are you? Are you a judgment person, someone who separates ideas carefully and finds
distinctions? Or are you a wit person, putting ideas together, looking for similarities? This course will
help you figure out which you are. Our readings and discussions will help you find an answer. We will
look at poems, plays, and prose from the Elizabethan through the Caroline Periods, the Interregnum,
the Restoration, and the Augustan Age (roughly the 1590s to 1735). So come! Be witty! Be
judgmental!
81752
ENL3132
Hist. Later British Novel
DL
Marnie Jones
This Distance Learning course examines the range and pleasures to be found in close readings of
classic and contemporary British novels. It explores the developments in the British novel in the 19th
to the early 21th century, with a special emphasis on narrative technique and structure. Students
have 12 different novels to choose among. Each novel includes several mini-lectures and contextual
context support. We explore how the novel dramatizes the tension between the individual self and
society, considering what the novels had to say to their original audiences and what they have to say
to us today. This course takes advantage of the flexibility of online learning to give students
considerable latitude in selecting novels to choose to read from the 19th century to the cusp of our
own era. This structure provides you with the opportunity to delve deeply into select novels, but also
come to appreciate the novel as a long-standing popular literary form that offers us remarkable
insights about what it means to be human. Choices include Frankenstein, Pride and Prejudice, Jane
Eyre, Little Dorrit, Heart of Darkness, Mrs. Dalloway, Man of Property, Wide Sargasso Sea, Devices
and Desires, The Unlikely Pilgrimage of Harold Fry, Atonement, and The Sense of An Ending.
80010
ENL3333
Shakespeare
M W 1630 1745 Pamela
Monteleone
This course studies selected aspects of the dramatic works from the early comedies to the late
romances. Consideration of non-dramatic poetry may also be included.
80011
ENL3503
Periods Later British Lit
M W 1500 1615 Laura
Heffernan
This course will cover literature of the nineteenth and early twentieth centuries, including William
Wordsworth’s Lyrical Ballads, Charles Dickens’ Great Expectations, the poems and stories of Rudyard
Kipling, and the poetry of World War I, as well as historical documents and essays (Edmund Burke,
Mary Wollstonecraft, Henry Mayhew, Robert Graves). We will keep our eyes on major historical
events (for example, the revolution in France, the 1838 People’s Charter, the Indian Rebellion and
1858 Government of India Act) and also try to imagine the changing texture of everyday life (the rise
of industrialism, the feel of urban living, the emergence of women as full citizens). Above all, we will
ask: how did the literature of these eras represent life?
Department of English Fall 2016 Courses
82880
ENL4240
Studies Brit. Romantic Lit.
TR
1050 1205 Michael Wiley
This course will explore British Romantic literature and culture by focusing on two literary genres: the
highly popular but subsequently neglected genre of the gothic novel, and the controversial and
subsequently canonized genre of experimental poetry. The Romantic period – conventionally dated
from about 1789-1832 – saw great conflicts and great changes in British and European aesthetic,
social and political values. We will consider how poems and gothic novels of the period participated in
those conflicts and changes, both by addressing a public readership and by addressing each other
intertextually.
80903
FIL2000
Film Appreciation
W
1800 2045 Stephan Boka
81389
FIL2000
Film Appreciation
F
1200 1445 TBA
This course introduces students to film interpretation and analysis by teaching cinematic vocabulary
and technique as they have emerged and developed through the history of international cinema.
81370
FIL3006
Analyzing Films
TR
1050 1330 Nicholas de
Villiers
This course introduces students to key terms for interpreting film, including important concepts and
trends in the field of cinema studies. Students will learn how to watch films with a critical eye, how to
discuss cinematic form and meaning, and how to write coherent and persuasive essays analyzing film.
This course provides an important foundation for more specialized courses in the film studies minor,
but will benefit anyone who wants to better understand how movies affect us, and how to put that
experience into words.
82897
FIL3363
Documentary Production
M W 1630 1915 Jillian Smith
FIL 4363
Adv. Documentary Production
MW
1630
1915 Jillian Smith
The art of documentary is twofold: (1) recognizing and capturing the narratives that circulate around
us in the real world and (2) shaping them into creative form. In this course we will lay the foundation
for this art by understanding and practicing documentary style and technique. Practicing a range of
documentary styles and narratives will open students to the creative possibilities of documentary
film; thorough technical competency will enable them to be realized. Several small productions and a
final interview are designed to teach students preproduction, camera, audio, lighting, interview, and
editing skills. Students who are interested in filmmaking of any kind will find this course to be
invaluable, and students who are primarily interested in watching film will find that their film viewing
skills are strengthened considerably after making film of their own. The Fall and then Spring
Documentary Production courses are designed as a two-course sequence, with the Spring semester
ending in a public screening. Take the Fall course to get to the Spring course. No prerequisites.
Register for “Advanced” only by permission of the professor. Get on the waitlist because seats open.
Any questions, contact Dr. Jillian Smith: [email protected]. See the work of AfterImage Documentary
here: http://vimeo.com/afterimagedocumentary/videos
82895
FIL3828
International Film Survey
M W 1200 1445 Timothy
Donovan
In this class, you are exposing yourself to the beautifully strange and profound experience of foreign
cinema, where you are transported not only to different worlds, but also to different senses of time,
space, and being. We will watch some of the most watched films in the history of international
cinema by focusing on national movements that have been recognized for their influence on the
development of cinema worldwide—American Romantic Realism, German Expressionism, Soviet
Montage, French New Wave, and more. In the process we will learn film vocabulary, film style, film
technique, and some film theory. We will also read about the historical context for certain films and
Department of English Fall 2016 Courses
movements in order to get a sense of the politics of film. Students will leave the course having
watched some of the “great films” of cinema—Bicycle Thieves (DeSica 1948, Italy), Rashomon
(Kurosawa 1950, Japan), The Battleship Potemkin (Eisenstein 1925, USSR), and Breaking the Waves
(von Trier 1996, Denmark)—which will give a sense of the contour of international cinema history.
Students will be expected to read essays, write reflections on all of the films, and engage in creative
and analytical assignments designed to deepen cinematic engagement.
80733
LIT3213
Critical Reading/Writing I
TR
1050 1205 Dwight
Gabbard
81551
LIT3213
Critical Reading/Writing I
TR
1505 1620 Dwight
Gabbard
We all have learned basic reading skills, but we have not necessarily learned the depths to which
these skills can take us. Literary interpretation is an art not limited to literature. Rather, it is a
foundation for sophisticated critical thinking within history, philosophy, culture, politics, media, the
arts, and even the sciences.
To practice the art of interpretation, we will read, write, discuss, and create. More than anything, our
art requires gaining a working knowledge of basic literary tools (i.e., character, point of view, paradox,
implied author). ACRW I focuses intensively on learning to use literary tools well. The follow-up
course, Art of Critical Reading and Writing II, focuses on using these tools to craft essay-length written
interpretations.
81753
LIT3213
Critical Reading/Writing I
M W 1330 1445 Jillian Smith
Literary interpretation is an art. It is also a foundation for sophisticated critical thinking and writing
within history, philosophy, culture, politics, media, art, and even science. Such sophisticated thinking,
however, is grounded in basic techniques. This course is dedicated to teaching students to define,
identify, and apply basic literary tools and techniques. Metaphor, paradox, setting, point of view,
symbol -- techniques that we tend to use loosely, we will learn to use with precision and purpose.
The goal of the class is to teach you how to read literature, and thus any text, with intensity. English
majors should run to this course (it is required); creative writers often find it invaluable; and all
majors are welcome. (This course, because of its coverage of narrative technique, fulfills the analysis
requirement for film minors.)
82181
LIT3214
Critical Reading/Writing II
W
1800 2045 Timothy
Donovan
82899
LIT3214
Critical Reading/Writing II
M W 1200 1315 Timothy
Donovan
The task in this course is to relearn and redevelop the techniques necessary to read and write
critically from a literary perspective. All of us know how to read and write. We have been doing it
since primary school or earlier. This course, however, will stretch, strengthen, and reinforce the habits
of that readied development.
Students in Art of Critical Reading and Writing II are expected to use their preparation from Art of
Critical Reading I, to compose coherent and cohesive analytical essays that thoughtfully put these
literary tools and techniques to work. In doing so students will be expected to compose cohesive
paragraphs, formed by analytical insights, expressed in stylish sentences that form a coherent essay.
This course is a part of a series of courses required for English majors. Majors are advised to take Art
of Critical Reading and Writing I before taking Art of Critical Reading and Writing II. Nevertheless, any
Department of English Fall 2016 Courses
student interested in working on their literary methodology and academic writing should consider
taking this course.
82900
LIT3304
Lit of Pop American Culture
TR
1630 1745 Betsy Nies
Have you ever wondered why we read the same types of books over and over again? Why do certain
genres maintain a strong readership and what do they tell us about ourselves? Focusing on the gothic,
Western, hard-boiled detective, and romance genres, this course seeks to address those questions.
The structure of these genres remains consistent, even if the content varies. We will explore the
philosophical underpinnings of each genre (including sub-genres such as serial killer and vampire
romance), considering why certain fantasies emerge at certain moments. The class will close with a
creative project in which students rewrite a genre to comment on current contemporary political and
social issues.
81870
LIT3331
Children's Literature
DL
Mary Baron
This course is for students of literature and for students who wish to become language arts teachers.
The texts have been chosen to be interesting and provocative and to raise issues both literary and
ethical that surround working with children. They will require you to think in different ways about
texts you may have loved as a child. For example, can you see how the book Curious George can be
read as a slave narrative? Do you see that it might not be the best book to offer an African-American
kindergartener? Is the mother in Love You Forever perhaps a mentally ill stalker? Would the boy in
The Giving Tree benefit from some tough love?
81552
LIT3333
Adolescent Literature
TR
1340 1455 TBA
We will read classic and contemporary literature considered suitable for middle and high school
students, as well as literary criticism, developmental psychology, and sociology. As we move through
the course we will ask the following questions, among many others: What are the functions of
adolescence in our culture? How does adolescence happen in other cultures? How is adolescence
different for females and males? Does adolescent literature serve one or more social functions?
82901
LIT3990
Outsiders in Literature
TR
1050 1205 Mary Baron
In this course we will read stories about people who are left out, cast out, alienated, imprisoned,
segregated, or otherwise discarded. Proverbially, this means they know most about what is going on.
We will test this premise as we examine and discuss short stories.
82902
LIT4093
21st Century Literature
M W 1200 1315 Laura
Heffernan
When literary critics of the future look back on early twenty-first century literature, what will they
identify as its best works and its characteristic forms and subjects? In this course, will attempt an
historical assessment of the literary works of our contemporaries. Primary course readings will
include: China Mieville's The City and the City, Keise Laymon's Long Division, Jennifer Egan's A Visit
from the Goon Squad, Junot Diaz’s The Brief Wondrous Life of Oscar Wao as well as poems by Juliana
Spahr, Claudia Rankine, Timothy Donnelly, Cathy Park Hong, and others. We will also read
contemporary book reviews an conduct our own research to build a “history of the present.“ Course
requirements include: lots of reading, lively class participation, several group projects, and a final
paper.
82903
LIT4243
Major Authors: William Blake
TR
1505 1620 Michael Wiley
This course will focus on William Blake, the poet, engraver, artist, mystic, political theorist, visionary,
Londoner, and madman. Blake’s writing and pictorial art exploded the mental, physical, and
ideological shackles that contained and constrained readers at the end of the eighteenth and
beginning of the nineteenth centuries. As we will see, his work still tests – and breaks through – the
limits of readers in the twenty-first century.
Department of English Fall 2016 Courses
82904
LIT4650
Comparative Literature: Dada
M W 1630 1745 Clark Lunberry
“DADA @ 100: The Art of Anti-Art.” The art and literary movement DADA was born in 1916, in a seedy
bar (the Cabaret Voltaire), in Zurich, Switzerland. Its anarchic powers, incited in part by the lunacy and
horrors of WW I, quickly spread like a contagion across Europe, even leaping the Atlantic and landing
forcefully in New York City. Ever since, DADA’s viral energies have never been stopped (nor even
contained), as every twenty years or so DADA re-arises, DADA becomes neo-DADA, again and again.
And now at the ripe young age of 100, DADA still lives, with its rich and nihilistic forces still feeding
restless and hungry imaginations. With DADA’s visual images of violent collage, its poetry of ecstatic
fragmentation and calculated non-sense, its theater of chaos and absurdity, this cultural movement
clearly tapped into a necessary and enduring modern impulse. And in this interdisciplinary class, we
will celebrate DADA’s writings, its manifestoes, its paintings and performances, as well as its lasting
legacy.
This class will also include exciting activities and visits by the neo-DADAIST Mark Hosler and a
performance by his legendary band Negativeland (at Sun-Ray Cinema, in Riverside), a DADA-inspired
sound installation by Erik DeLuca, collaborative activities and events by those participating in the
class, and much, much more.
82905
LIT4930
African Diaspora
TR
925
1040 Shane
Leverette
The African diaspora refers to communities of people descended from Africans who moved or were
removed from Africa to other parts of the world, primarily the Americas, Europe, Asia, and the Middle
East. This course allows students an interdisciplinary approach to and understanding of the African
diaspora, an historical and contemporary phenomenon highly relevant to current studies of race and
culture in the United States and beyond. Students will explore the African diaspora via multiple
disciplines—such as Anthropology, English, History, Philosophy, Political Science, and Sociology—and
via community partnerships. Because this class encompasses Community Based Learning (CBL),
students will bridge classroom discussions and course texts with relevant community experience,
gaining connections among people and between knowledge and application of that knowledge. The
class will cover a number of key units: African history and the Trans-Atlantic Slave Trade, literary and
cultural productions of the diaspora, the anthropology of race, the politics of blackness across
temporal and spatial planes, and the diaspora as it manifests locally. This final CBL component will
allow students to learn how people of the diaspora shape and have been shaped by living in
Northeast Florida.
82186
LIT4934
Reading Matters
W
1200 1445 Marnie Jones
Enroll in a course you will enjoy & remember for the rest of your life! 60 students have taken it and
everyone recommended other students enroll. Representative comments: “These children are
extraordinary—it is an amazing experience. The things I have gained will affect me for years after
this.”/ "It is a deeply rich experience as it allows us to see why reading matters in action. The time
with the children is priceless.”/ "This class, by letting you choose your own reading list, helps rekindle
your joy of reading. It's a gift.” The central question explores why reading matters and will yield
fascinating and complex answers. Part of the semester we meet at Woodland Acres Elementary
School to help 5th graders develop their reading skills. The other component of the course will focus
upon our own experience of reading. Together we read Steve Pemberton’s, A Chance in the World.
Student will contract with the professor to design a personal reading curriculum that matters to you:
you can use this experience to delve deeply into the work of a new or favorite author; read those
Department of English Fall 2016 Courses
books that you always intended to when you had the time. If you don’t need Senior seminar, this
course can count as an elective for the American or British minor, depending upon the reading you
select. The time block allows you to take a class before or after (it includes transportation time to and
from the school). Please contact Dr. Jones at mjones@unf for more information.
82906
LIT4934
Myth, Fable, Fantasy
M W 1500 1615 Keith
Cartwright
This senior seminar will study how imaginative literature constructs virtual realities that allow us to
explore, question, challenge, escape, reshape, and navigate-with-a-difference some of the boundaries
and assumptions of our “real” worlds. We will access other realms through Joseph Campbell’s
comparative study of myths, Sun Ra’s Afro-futurist ideas of “myth science,” core works of the
Western canon (from Homer to Shakespeare), American Indian animal fables and medicine tales,
Afro-creole “allegories of the wilderness,” Tolkien’s realm of “fairy,” and via fantasy realms and
avatars of contemporary media—from Japanese Anime to the apocalyptic souths of The Walking
Dead.
82907
LIT4934
Senior Seminar: Literary Frauds
TR
1630 1745 Michael Wiley
One of the uncomfortable secrets of literary studies is that some of the writers whom we praise as
the most original and imaginative also have been accused of stealing others’ work or misrepresenting
their own roles as authors. S.T. Coleridge, Thomas DeQuincey, and Edgar Allan Poe, for instance, were
all notorious plagiarists. In recent years, such widely divergent writers as James Frey (A Million Little
Pieces), Dan Brown (The Da Vinci Code), and Stetson Kennedy (The Klan Unmasked) also have been
accused of committing literary fraud.
This Senior Seminar will ask, what is literary fraud? What is plagiarism, what is forgery, and what is
authorial misrepresentation or inauthentic self-representation? We will consider what works by
writers such as Aeschylus, Sophocles, William Shakespeare, William Wordsworth, Coleridge, Poe,
Heiner Müller and others tell us about our ideas of literary dishonesty and about now standard
literary values, such as originality, imagination, authority, authenticity, genius, and personal voice. We
also will consider how these values have evolved over time, and how the idea of authorship has come
to have the various meanings that it has today.
80734
TPP2100
Acting I
M W 1200 1315 Pamela
Monteleone
This is a beginning course in the fundamentals of acting. Students learn a working vocabulary and
acquire basic skills of the acting process. Through formal and improvisational techniques for
developing vocal, physical, and analytical skills associated with behavior-based acting, students
explore the imagination as the actor's primary resource for building a character. Emphasis is on
relaxation, trust, and mental agility. Some monologue and/or scene work may be required.