English Department Course Offerings
Spring 2005

ENGL 030     Writing Laboratory

Section A: By Appointment--D. Murray, R. Mosher, and staff

Enroll during drop/add only in ECS 122D. Laboratory practice of the writing process. Regular sections are for students enrolled in Expository Writing 1 or 2. (Walk-in sections are for undergraduate students who wish to improve their writing skills.) Hours are not applicable toward degree requirements. Prerequisite: Consent of student's Expository Writing instructor and Writing Laboratory staff.

ENGL 125     Honors English II

Section A: MWF 8:30; Section B: MWF 9:30--L. Behlman

Love, Sex, and History: The Greeks, the Victorians, and Us.This course will help you to develop your critical writing and thinking skills for other courses at this university and for life beyond college.  The special focus of this class and the subject of your writing will be the history of love and sexuality.  Our focus will be on three very different cultures: Ancient Greece, Victorian Britain, and modern-day America.  As we read significant fiction and non-fiction texts from each of these three cultures, we will ask some of these questions:

  • Where did our current notions of romantic love begin?
  • How did ancient and Victorian ideas about sexuality differ from our own?
  • How did the growth of the women’s movement affect our understanding of sex and gender?
  • How influential have the ideas of Sigmund Freud been on our current understanding of human sexuality?
  • What’s wrong with wanting to fill the world with silly love songs?  I need to know.  (In other words, we’ll spend the last section of the term addressing love songs in popular music.)

Texts for This Class Will Likely Include: Euripides, Bacchae; Plato, Symposium and Phaedrus; Love poetry by Sappho and Ovid; Sex poetry by Swinburne and Christina Rossetti; Emily Brontë, Wuthering Heights; George Eliot, Adam Bede; Sigmund Freud, Dora: Fragment of an Analysis of a Case of Hysteria; David Sedaris, The Santaland Diaries; Nick Hornsby, High Fidelity; and the following films: The Lady Eve; Eternal Sunshine of the Spotless Mind.

Assignments will include four mid-length papers, two required paper revisions, short workshop evaluations, and some quizzes.  Books for the class will be available at the Dusty Bookshelf in Aggieville.

Please Note: This course is available to honors students who have taken Honors English 110.  It is also available to all undergraduate students who have received a grade of “A” for English 100-Expository Writing.  Freshmen are welcome.

ENGL 125     Honors English II

Section C: MWF 10:30--R. Friedmann

In this course, we will study how the Holocaust and its aftermath have been represented in long and short fiction.  Based on their reading of this literature, students will write five essays examining the philosophical, political, and theological consequences for Western culture of one of the 20th century’s greatest crimes.  Authors that will be studied may include Saul Bellow, John Hersey, Yoram Kaniuk, Jerzy Kosinsk, Bernard Malamud, Ellen Miller, Cynthia Ozick, Philip Roth, Susan Fromberg Schaeffer, I. B. Singer, and George Steiner.

ENGL 220     Fiction Into Film

Section A: TU 11:30-12:45, Lab T 7:05-9:55--M. Janette

This course compares great films to the great books they came from. Here’s the catch:  the films we’ll be looking at this semester are not at all faithful to their sources.  We’ll be comparing such pairs as Bladerunner and Do Androids Dream of Electric Sheep; Clueless and Emma; Frankenstein and Frankenstein; Apocalypse Now and Heart of Darkness. Along the way, we’ll also learn the basics of film criticism, applying them to a variety of movies from Classic Cinema to Blockbuster movies to Indie films.  Weekly attendance required at film screenings (lab), Monday nights.  Students will write seven short papers, one midterm exam, and one final exam.

ENGL 231     Medieval & Renaissance Humanities

Section A: MWF 11:30; Section B: MWF 12:30--M. Donnelly

An introductory survey of some significant developments in the literature, history, philosophy, art, and music of Western Europe, with emphasis on Italy, France, and Germany, from the end of the Ancient World to the beginning of the seventeenth century: the course will examine selected landmarks of art and culture in an attempt to understand the character and contributions of the European mind and spirit in the Medieval period and the Renaissance. Requirements: one or two hour exams; identification and comment on slides and musical selections, and a final examination.

ENGL 234     Modern Humanities

Section A: TU 2:30-3:45--J. Henderson

Our course, the fourth part of the Introduction to the Humanities sequence at Kansas State, will explore central developments and masterpieces that emerged during the 18th, 19th and 20th centuries in Europe and America (an era often labeled the “Modern Period”).  The course will be broken down into roughly four sections: The Romantics, Early Modernism, The Zenith of Modernism, and Postmodernism.  While we’ll spend the majority of our time on Modernism proper, it is also important to look at Modernism in the context of Romanticism—the world the Moderns inherited—and Postmodernism—the world the Moderns created.  Throughout these 300 or so years of cultural development, we will look for connections that revolve around a few themes: self versus environment; the world within; and evolutions in time and space.  These are not exclusive of the periods, but they provide a way to frame the vast amount of thought and writing we’ll encounter in philosophy, history, music, literature (both prose and poetry), and art.  Our goal, then, will be to explore the interrelationships between the meanings of certain works, between trends in history, and between the lives and views of important people.  English 234 is a General Education course.

ENGL 251     Introduction to Literature

Section A: MWF 8:30; Section D: MWF 2:30; Section G: TU 1:05-2:20--Staff

The study of fiction, drama, poetry, and (possibly) nonfiction. Students may write papers, take exams, or participate in listserve discussions while gaining experience in reading, writing, and critical thinking.

ENGL 251     Introduction to Literature

Section B: MWF 11:30--C. Franko

This introductory course in literature is designed for students not majoring in English.  The primary goals of the course are 1) to expose you to a variety of literary texts in the genres of fiction, poetry, and drama; 2) to provide you with a vocabulary for analyzing literature; 3) to develop your skill, confidence and enjoyment as a reader of literature. Assignments include quizzes, homework answers, three exams, and one essay.

ENGL 251     Introduction to Literature

Section C: MWF 1:30--L. Chakrabarti

In this course students will learn to appreciate, analyze, discuss, critique and  write about short stories, essays, poetry, and drama through the centuries. Requirements: Active and dedicated class participation, one student-led discussion per student, one short oral presentation, several homework assignments, daily reading quizzes, an analytical paper, a midterm exam, and a  final exam.

ENGL 251     Introduction to Literature

Section E: TU 8:05-9:20; Section F: TU 9:30-10:45--R. Mosher

This course aims to give students experience thinking, talking, and writing about prose, poetry, and drama. Students will be required to participate in class discussion, complete daily out-of-class exercises, take three "exams," and write an analytical paper.

ENGL 270     American Literature

Section A: TU 9:30-10:45; Section B: TU 11:30-12:45--D. Hall

A primary-texts course in which students read with care several major texts in American literature.  Though not a course for English majors and, therefore, exempt from the requirements to know the specialized vocabulary of the field, the course does expect students to read with care the selected texts.  Allow enough time to do the assigned reading (about 50 pages between class periods). Reading quizzes will be given to ensure students do the reading in a timely manner.  There will be an open book midterm and final as well as several (probably every 3 weeks or so) short (2 pp.) responses to prompts.  Emphases on the specific works themselves and drawing some connections between texts.  Class participation is also an important component of the course grade.

Texts will includeBenjamin Franklin’s Autobiography   edited by Lemay and Zall (Norton), The Scarlet Letter by Nathaniel Hawthorne edited by Gross, et. al (Norton),  Maggie:  A Girl of the Streets by Stephen Crane edited by Gullason (Norton), The Great Gatsby by F. Scott Fitzgerald (Scribner), The Catcher in the Rye by J. D. Salinger (Little Brown) and others.

ENGL 287     Great Books

Section A: MWF 10:30; Section B: MWF 11:30--L. Baker

Exploration of several world classics.  We will read a variety of books, from ancient Greek epic to 20th-century novel.  Participation in message board discussion via KSU-Online will be an important part of the course. Fulfills General Education requirement.

ENGL 300     Expository Writing III

Section A: MWF 1:30; Section B: MWF 2:30--I. Ward

In Expository Writing III, you get to learn about and write written arguments. We will be looking at a number of current events issues as examples of how argument affects your life and the lives of those around you. These issues will provide us with real-life examples to study and issues about which to write arguments. We also will be able to use the computers in EH 228 to write in class, to access web sites related to current public issues, an all the on-line research tools available from Hale Library. The class text will be Everything’s an Argument by Lunsford, Ruszkiewicz, and Walters, which includes interesting and insightful essays and articles on a wide range of important public issues.

Requirements:  Four 5-7 page papers on aspects of argumentation and issues under debate in the community, state, and nation;  a short quiz on concepts related to argumentation; brief one-page homework assignments; access to KSU's Web Interface and a valid KSU Webmail account.

ENGL 310     Introduction to Literary Studies (Majors)

Section A: MWF 9:30; Section B: MWF 10:30--J. Machor

A foundation course, required for all English majors, designed to provide an introduction to literary studies through a focus on literary forms, seminal concepts and terms, and critical approaches to poetry, fiction, and drama. Students will receive extensive practice in critical analysis through in-class discussion and through writing about literary texts, as well as exposure to basic research and bibliographic tools. Requirements include class participation, 5 short papers (2-7 pages), several library assignments, 1-2 exams, and a final. For permission to enroll, go to the English Department Office, English/Counseling Services 108.

ENGL 310     Introduction to Literary Studies (Majors)

Section C: TU 9:30-10:45--B. Nelson

An introduction to the tools of literary criticism, this writing intensive course if for English majors and minors only. This section will explore, through literature, the impact of Society's assumptions and expectations on the relationships between men and women. We will read works in a variety of genres--poetry, short story, essay, drama, and the novel--written by both male and female writers and spanning several centuries. In addition to some fascinating reading and discussion, this course will help prepare you for upper-level English courses by honing your critical reading and writing skills. For permission to enroll, go to the English Department Office, English/Counseling Services 108.

ENGL 315     Cultural Studies

Section A: MWF 9:30; Section B: MWF 10:30--D. Hedrick

What happens if we take things from popular culture and consider them seriously in a sustained way?  This new field treats everything from The Texas Chainsaw Massacre to Kill Bill,   “I Love Lucy” to reality TV shows, jazz music to music videos, shopping malls to pornography; movie trailers to cosmetic ads, cartoons to novels--both in contemporary examples and in examples from earlier periods.  We will read, see, and discuss such literary and nonliterary works and experiences, talk about theories that can be used to understand and explain them, and debate politics and their political implications for changing relationships of power in society.  In addition to the readings and viewings there will weekly responses, exercises, or short presentations; two short papers and a longer project, and one or two hour exams. A General Education course.

ENGL 320     The Short Story

Section A: MWF 8:30; Section B: MWF 12:30; Section E: TU 8:05-9:20; Section G: TU 1:05-2:20--Staff

Study of short stories from world literature with emphasis on American, British, and Continental.

ENGL 320     The Short Story

Section C: MWF 1:30; Section D: MWF 2:30--L. Baker

In this course we read intensively (rather than extensively) a variety of short fictions that presuppose different “moves” on the part of the reader.  The works range from stories constructed on the conventions of psychological or social “realism” to those built as fables or allegories, sometimes quite fantastic or “surreal.” The focus is on how readers pick up cues about what sorts of agendas of curiosity are likely to pay off for a given story, and on what one has to do in order to carry through different kinds of agendas of curiosity.  There are 3 essay exams, each with an in-class and an out-of-class component, and 8 short out-of-class writings on topics of your choice out of 18 topics.

ENGL 320     The Short Story

Section F: TU 11:30-12:45--S. Rodgers

This course is designed as an introduction to reading and responding to fiction, specifically the short story.  We will begin with some early masters of the form like Guy de Maupassant, James Joyce, and Anton Chekhov, in order to gain a historical perspective on the development of the short story.  Most of the semester, however, will be spent on American authors, especially stories written in the last fifty years.  Class format will include lecture, discussion, group work, and in-class writing.  Requirements include class attendance, quizzes, a reading response notebook, a short paper, a midterm, and a final.

ENGL 330     The Novel

Section A: MWF 11:30; Section B: MWF 12:30--L. Warren

Novels selected from various periods and cultures.  Concern for form and critical analysis.

ENGL 340     Poetry

Section A: MWF 1:30--K. Smith

Poems are not novels. They aren’t short stories. They aren’t essays. And they aren’t easy. That much seems simple enough. But part of the rigor of poetry lies in the difficulty of knowing, not just what it means, but what it is. Why is one text a revered and immortal poem and another is just a breakfast food jingle? As the poet Archibald MacLeish once wrote:  A poem should be wordless /As the flight of birds…A poem should not mean /But be. Not the least part of this course will be to try to figure out what he meant. In exploring the nature of poetry we’ll look at a broad cross-section of poems from the Renaissance to the present and examine the various aspects—form, meter, rhyme, tone, imagery, symbolism—that make poetry such a rich and complex kind of writing. The course will center on class discussion. Assignments will include both critical and creative writing, two exams, and a five-page paper.

ENGL 345     Drama

Section A: TU 9:30-10:45--K. Westman

In this course we will analyze and enjoy drama as literature and as performance, exploring how authors ask us re-experience the world through their plays. As we read, discuss, write about, and consider the performance of their plays, we will investigate how each play accomplishes its task through the cultural language of dialogue, props, costumes, theatrical tradition, and the relationship between actors and audience. We’ll be studying plays from the past and the present, discussing such themes as love, loss, family, gender, race, ethnicity, and class.  Our goal is two-fold: (1) to become familiar with drama as a literary genre and its historical and formal conventions, and (2) to develop critical skills for reading, thinking, and writing about literary texts, including drama.  Success in this course depends upon careful reading and participation in our discussions. Three short papers, quizzes, postings to an electronic bulletin board, and a final exam.

ENGL 350     Introduction to Shakespeare

Section A: MWF 10:30; Section B: MWF 11:30--K. Smith

Someone in the theatre once remarked that the villains get all the best lines. While that’s not altogether true, within the corpus of Shakespeare’s plays some of the most indelible and memorable characters are also some of the most despicable: characters whose depths of evil are matched only by their complexity and vividness. In this course we’ll be looking at the ways in which some of Shakespeare’s more notable villains behave within the context of some of the playwright’s most compelling plots. This doesn’t mean we’ll be focusing entirely on unrelieved evil. We’ll simply be using these villains as a starting point from which to examine the motivations, personalities, plots, and complexly human aspects of this pre-eminent English playwright’s work. In doing so we'll explore the slippery notion of how villains function in the plays, how they drive the action, and how they help illuminate the difficulties of achieving a moral balance in a complicated world. The course will emphasize class discussion. Other requirements may include in-class quizzes, two short papers, and two exams.

ENGL 350     Introduction to Shakespeare

Section C: MWF 2:30--M. Donnelly

An introduction to Shakespeare’s plays and how to read, interpret, and understand them as drama and literature. We will read some representative examples of Shakespeare’s comedies, histories, tragedies, and romances, attending primarily to the ways in which Shakespeare’s language and design create and convey meaning and evoke audience response, but glancing at contemporary critical approaches insofar as the class finds these interesting. Participation in class discussions emphasized.  One hour exam, in-class exercises, one paper ( a “Director’s Notebook” laying out the staging of a scene or self-contained episode from a play read in class, chosen by the student in consultation with the instructor);  a comprehensive final examination.  Text:  Stephen Greenblatt, et al., The Norton Shakespeare (New York and London, 1997)

ENGL 355     Literature for Children

Section A: MWF 2:30--P. Nel

Permission obtained from English Department, ECS 108, beginning 18 October 2004. Enrollment by permission only: priority is given to junior and senior Elementary Education majors; spaces gladly given to non-Education majors if available. Arranged by genre, this section of Literature for

Children is designed to introduce major genres in and conventions of literature for children, and to develop critical skills for reading, thinking and writing about children's literature and culture. Components of the course include discussion of picture books, fairy tales, poetry, fantasy, realism, and animal stories, among others. For a representative syllabus and book-list see, please see <http://www.ksu.edu/english/nelp/choose.courses.html>. English 355 is a General Education class.

ENGL 355     Literature for Children

Section B: TU 11:30-12:45; Section C: TU 1:05-2:20--N. Wood

Our challenge is to take children's literature seriously as an aesthetic production, but also to

have fun. We will explore characteristic genres of children's literature such as picture books, poetry, folk tales, realistic fiction, adventure stories, and historical fiction in a technology classroom. This is an active, writing-intensive course with a series of small writing projects rather than larger and less frequent assignments. Enrollment is by permission only. Priority is given to  junior and senior Elementary Education majors, who should have passed a college-level literature course prior to taking this one; spaces gladly given to non-Education majors if available. For more details see web-site <http://www.ksu.edu/english/naomiw/courses/>. English 355 is a General Education course.

ENGL 355     Literature for Children

Section D: T 7:05-9:55--A. Phillips

Arranged by genre, this section of Literature for Children is designed to enable students to achieve two particular goals:  first, to demonstrate a fairly broad knowledge of children's literature, and second, to view that literature critically.  Discussion units on picture books, folk and fairy tales, poetry, fantasy, realism, and detective fiction, among others.  Authors may include the following:  Maurice Sendak, Jacob and Wilhelm Grimm, Charles Perrault, L. Frank Baum, Ellen Raskin, Katherine Paterson, Jerry Spinelli, and Gary Paulsen.  Requirements:  participation, reading quizzes, two papers, two midterm exams, and a final exam. Permission obtained from English Department, ECS 108, beginning 18 October 2004. Enrollment by permission only: priority is given to junior and senior Elementary Education majors, who should have passed a college-level literature course prior to taking this one; spaces gladly given to non-Education majors if available. English 355 is a General Education course.

ENGL 361     British Survey I (Majors)

Section A: MWF 10:30--C. Franko

This course is designed to introduce English majors and minors to British Literature before 1800.   We will focus on several major works of this period, including Beowulf, TheCanterbury Tales, and Paradise Lost.  We will read Beowulf in translation but will read Chaucer in Middle English.  Our goals are to become familiar with a canon of British literature before 1800 and to practice literary analysis and interpretation.  You will write two short essays and three exams.

ENGL 362     British Survey II (Majors)

Section A: MWF 9:30--L. Warren

British Survey I is not a prerequisite. Course applies to survey requirements for English majors. A survey of British literature from the late 17th century to the beginnings of modernism, this course will explore the changing conceptions of literature as defined by Augustan, Romantic, Victorian, and Modernist writers. Several short papers and two quizzes are required.

ENGL 381     American Survey I (Majors)

Section A: MWF 1:30--J. Machor

This course will examine American writing (and writing about America) from the accounts of early exploration to the literature and discourse of the Civil War.  Besides attending to individual texts and their interrelations across historical periods, we will seek to examine this body of materials as products of specific places, times, and cultural formations.  Readings will include works from the traditional canon as well as writings by women and minorities.  Requirements will include three semester exams and a final, a journal comprised of daily entries on the readings, and participation in class discussion.  Will apply to survey requirement for English Majors.

ENGL 382     American Survey II (Majors)

Section A: TU 1:05-2:20--T. Dayton

This class is a survey of American literature for English and English Education majors, covering the period from the Civil War to the present. We will focus on major developments in literature and culture as they relate to social changes in the US during the historical period we cover. Major assignments: two or three exams and a research paper.

ENGL 399     Honors Seminar in American Literature and Culture 1945-1964

Section A: MWF 1:30--D. Smit

We will ponder how to characterize the post-WWII period in America, given the wide range of scholarly opinions on the subject.  Books dealing with period have called it “the dark ages,” “the proud decades,” “when the going was good, and “a troubled feast.”  For part of the course, we will read the fiction, poetry, and drama of the period, and note how each genre reflected or rebelled against the values of the time, and how by 1964 each genre had evolved into what we now call postmodernism or “meta-literature.”  Another part of the course will be a seminar, in which students present the results of their research into some aspect of literature and culture in the period.  In addition to fiction, poetry, and drama, students may investigate other arts, such as painting, music, architecture, or film; aspects of culture, such as the status of women or minorities, the Beat movement, the federal bureaucracy and corporate culture, or the focus of the period on juvenile delinquency; aspects of popular culture, such as advertising, television, men’s and women’s magazines, paperback books, or comics; history, politics, religion, psychology, sociology, or any other aspect of the culture of the period they find interesting

We will read fiction by J.D. Salinger,  Flannery O’Connor, Thomas Pynchon, and Kurt Vonnegut; poems by Beatniks, Black Mountain poets, New York and San Francisco poets, confessional poets, and Deep Image poets; and plays by Tennessee Williams, Arthur Miller, Alice Childress, Lorraine Hansberry, Arthur Kopit, and Edward Albee.  Besides the seminar paper and presentation, there will be a number of  quizzes and several short writing assignments.

ENGL 400     Advanced Expository Writing for Prospective Teachers

Section A: MWF 12:30--D. Smit

We will focus on “visual literacy,” the way images and texts interact in contemporary writing.  You will write five papers/ projects: a report on your own reading and “seeing,” two projects in which you investigate how a group or a piece of literature or film is “represented” and then design your own representation; a paper critiquing a painting, advertisement, or other visual “text” for its persuasive appeal, and a writing assignment for high school students, introducing them to visual literacy.

The text is Lester Faigley, Diana George, Anna Palchik, and Cynthia Selfe’s  Picturing Texts.

In addition to the writing projects, there will be a number of exercises in grammar and style.

ENGL 415     Written Communication for Engineers

Section A: MWF 9:30; Section B: MWF 10:30; Section C: MWF 11:30--L. Chakrabarti

Section D: MWF 12:30--Staff

Section E: MWF 12:30; Section F: MWF 1:30; Section G: MWF 2:30--R. Friedmann

Section H: TU 8:05-9:20; Section I: TU 9:30-10:45; Section J: TU 11:30-12:45; Section K: 1:05-2:20--Staff

Restricted to juniors and seniors in the College of Engineering. Permission is required for enrollment. This preprofessional writing course provides intensive study of and practice in the techniques and forms characteristic of professional practice. See instructors for further course and section details.

ENGL 440     Harry Potter's Library

Section A: MWF 11:30; Section B: MWF 12:30--P. Nel

This course examines the Harry Potter phenomenon by reading the Potter novels themselves and the works of J. K. Rowling's antecedents (such as Thomas Hughes), influences (E. Nesbit, C. S. Lewis, Roald Dahl) and contemporaries (Philip Pullman). We will approach these works from a variety of critical perspectives, and we will also consult selected secondary sources.  Before the first class, you must have read Harry Potter and the Sorcerer's Stone.  For a representative syllabus and book-list see, please see <http://www.ksu.edu/english/nelp/rowling/s2003.html>.

ENGL 445     Screenwriting

Section A: TU 2:30-3:45--A. Reckling

A creative and analytical writing course that enables students to develop screenwriting skills on the micro level for the small screen. In this course students learn to employ theory and terminology of episodic comedy as they offer verbal and written analysis of teleplays and their corresponding episodes, and then go on to develop their own original premise, story, outline, and scenes for a live action show. Texts include a guide to writing comedy for the small screen, articles on featured series, discussion guidelines, teleplays, and produced episodes. Students are required to attend screenings, participate in class discussions, collaborate in group presentations, make oral presentations independently, and create a portfolio of original written work in a variety of specific technical formats. The course will build, by portfolio component, to final workshops of new original material in which all participants are required to offer both verbal and written analysis of peer work, and of their own.

ENGL 450     Women in Television

Section A: TU 4:05-5:20--A. Reckling

A study of female characters in television comedies from 1950 to the present. From the inside of a sitcom we examine the architectural touchstones of classic comedy, such as hard and soft comedy, character types and predicaments, setups and punchlines, stage business and mannerisms. From the outside of a television show the course introduces students to critical analysis of well known female characters and the ways they uphold and subvert cultural mores in the context of domestic comedies, workplace comedies, feminism, and postfeminism. Texts include a guide to writing television comedy, critical essays on feminist and postfeminist implications in popular culture, magazine articles, discussion guidelines, teleplays and produced episodes. The course foregrounds I Love Lucy, The Mary Tyler Moore Show, Designing Women, and Murphy Brown, with more recent offerings selected from Caroline in the City, Seinfeld, Frasier, Will & Grace, and others. Students are required to attend screenings, participate in class discussions, complete creative and analytical writing projects, and pass exams.

ENGL 461     Introduction to Fiction Writing

Section A: MWF 11:30; Section B: MWF 12:30--I. Rahman

This course involves the study of narrative structure and craft as well as practical experience in writing short stories. We will discuss the nature of fiction and narrative, using the work of professional writers as examples. We will write—a lot—both in class and outside of class, using various brainstorming techniques, exercises, collaborations, and writing triggers to help you generate material and develop your writing voice. You will write several short pieces as well as one completed short story that will be workshopped in class. Other course requirements include written and oral critiques of your classmate’ stories, written responses to weekly readings, and active class participation. Authors will also meet with the instructor for individual manuscript conferences.

ENGL 463     Introduction to Poetry Writing

Section A: MWF 9:30--J. Holden

The class consists of 8 assignments, each of which gives the student a "model" poem and asks the student to imitate that model.  The models are carefully chosen.  Each is significantly different from the previous one. These models cover all the major conventions which comprise the contemporary tradition.  "Models" consist of poems by Brendan Galvin, Tim Seibles, Louis Simpson, Yusef Komunyakaa, Robert Mezey, William Stafford, Bin Ramke, E.A. Robinson, Edgar Lee Masters, Li Po (trans. by Ezra Pound), Randall Jarrell, Ted Kooser, Robert Frost, Gwendolyn Brooks, Alexander Pope, W.C. Williams, E.E. Cummings, Robert Creeley, Wallace Stevens, Stephen Dunn.

The class is hard, exerts pressure:  one fresh poem every two weeks.  The poems can be revised or rewritten as necessary, and the grade of the rewrite replace the grade of the original.  The intent in to minimize raw talent as a factor in grades, because each assignment is graded according to objective "criteria."

ENGL 463     Introduction to Poetry Writing

Section B: TU 9:30-10:45; Section C: TU 11:30-12:45--J. Henderson

Open to English Majors and Minors, as well as interested students from other disciplines.  The course is just as the title suggests, an introduction to poetry writing.  That is, we’ll focus on imagery, metaphor, meter, tone, concrete detail, and other elements vital to good poetry, and the poetry assignments will provide an opportunity for writers to use these fundamentals again and again.  Assignments may include an object poem, poem in response to art, a sonnet or villanelle, a prose poem, a persona poem, etc.  Additionally, there will be much discussion of contemporary poetry, occasional quizzes over the readings, and specific assignments to give students practice with the fundamentals.  While no particular experience in writing poems is necessary, students should genuinely enjoy reading and writing.

ENGL 470     Early Christian Literature

Section A: MWF 11:30--L. Behlman

This course will address the New Testament and early Christian writings up to about 450 A.D. The first third of the course will deal with the New Testament and its literary and cultural backgrounds. We'll read not only from the New Testament itself but also from its chief influences, the Hebrew Bible and "pagan" literature and philosophy. The latter two thirds of the course will include readings from Gnostic and other non-canonical gospels, lives of the early male and female saints, documents from the early Christian debates about the nature of Christ, and a good deal of contemporary critical writing about the history of the Church and the Christianization of the Roman Empire.

Along the way, we'll examine such fascinating matters as the authorship of the New Testament, the rather late history of its compilation as a text, and the Jewishness of Jesus and of early Christianity in general. We'll take special note of the extraordinary diversity of beliefs that were in play in early Christianity. The semester will culminate with a reading of Augustine's great spiritual autobiography, The Confessions.

While the course will in part be about religion, it will not be taught from a religious perspective; the approach will be literary, cultural, and historical. It is open to people of all faiths or of no faith whatsoever. No knowledge of the Bible or of early Christianity is expected.

Requirements include dedicated participation in class discussion and devoted attention to the often challenging reading assignments. Assignments include five short response essays, one 4-5 page essay, one 7-9 page essay, several pop quizzes, a mid-term exam, and a final exam.

The books for the course will be available at the Dusty Bookshelf in Aggieville.   ENGL 470 is a General Education and Primary Texts Course.

ENGL 490     Development of the English Language

Section A: MWF 9:30--Staff

This course is an introduction to the many ways that the English language has changed and developed through its 1,500-year history.  After acquiring the tools necessary to study linguistic change, we’ll talk first about where English comes from and how it’s related to other of the world’s languages, then consider in some detail the development of the sounds, words, and grammar of English as they have been influenced by the forces both inside and outside the language.  We’ll also trace the history of certain groups of works as well as discuss briefly the differences between American and British English, the role prescriptivism has played in the development of the language, and writing systems.  Students will use one textbook and one workbook, write four exams, do homework exercises, and compile a journal of their experiences with the changing English language.

ENGL 516     Written Communication for the Sciences

Section A: MWF 8:30; Section B: MWF 9:30; Section C: MWF 10:3--N. Ransom

*Section D: TU 11:30-12:45--J. Brogno [For Hotel and Restaurant Majors Only; See Pat Pesci in Justin 103 to enroll]

A preprofessional writing course intended to acquaint students from a number of disciplines with the types of writing they will be doing in their professional lives.  Assignments focus on audience, purpose, and content and cover a range of formats (memos, letters of various sorts, short and long reports based on research in the students’ fields, as well as assignments centered around such reports).  Assignments also include an oral presentation based on research.

ENGL 525     Women in Literature

Section A: MWF 12:30--C. Hauck

Our topic will be “Women and War.” We will study novels, poetry and memoir from WW1, WW2 and various fronts of the Cold War. Our studies will be enhanced by reading twentieth-century feminist theory about the nature of war and women’s involvement in it. Students will complete several short essays,  ranging in length from one to five page, as well as a longer research essay. There will be a mid-term and a final.

ENGL 545     Literature for Adolescents

Section A: TU 9:30-10:45--A. Phillips

English 545 is designed to introduce students to literature that features adolescents as protagonists and depicts conditions and situations familiar to adolescents. Students will study key authors and texts in the field of adolescent literature, acquiring knowledge of both middle school- and high school-appropriate literature and developing expertise in wielding literary theory in a concrete, useful fashion. We'll study some classic works, such as Alcott's Little Women, Salinger's The Catcher in the Rye, Lee's To Kill a Mockingbird and Cormier's The Chocolate War; we'll screen films such as Rebel Without a Cause and Dirty Dancing. We'll also survey quality works of literature by such authors as Katherine Paterson, Robert Lipsyte, S. Morgenstern, and Walter Dean Myers that draw thought-provoking connections between adolescence and culture. Requirements: participation, two papers, two midterm exams, and a final. This class is required for secondary education majors, but others are certainly welcome to enroll. English 545 is a General Education class.

ENGL 610     Renaissance Literature

Section A: MWF 11:30--D. Hedrick 

What used to be called “great books,” the works studied in this course will be some of the most exciting and influential in European Western Civilization. They will include Sir Thomas More’s fantasy of an ideal, alternative society (that gave us the word Utopia); Machiavelli’s study of political manipulation (The Prince) that gave us the term “Machiavellian”; Montaigne’s essays inviting Europeans to see themselves as native American Indians might see them (that began the nonfiction form of the essay);  Rabelais’ comic works of gargantuan bawdy;  the story of the professor who sells his soul to the devil (Marlowe’s Dr. Faustus), and works debating religion, women’s roles in society, and the growth of consumer culture.  Not just pieces of the jigsaw puzzle of the “Renaissance” valuable for understanding Shakespeare and others, the works will be treated as they address contemporary concerns as well.   There will be short exercises  and presentations, and one or two hour exams and a final.

ENGL 635     The Bloomsbury Group

Section A: U 7:05-9:55--K. Westman

If you're interested in the art, literature, and culture of early twentieth-century England, you will enjoy “The Bloomsbury Group.” We will examine the relationships among the literary works of Bloomsbury authors such as Lytton Strachey, E.M. Forster, Virginia Woolf, Katherine Mansfield, and T.S. Eliot, focusing our attention on their perspectives on English society and personal experience.  We will also consider their work in light of their 19th century predecessors (G.E. Moore, Walter Pater, Matthew Arnold, Oscar Wilde) and in light of the post-impressionist visual artists and art theorists of the Group (Duncan Grant, Vanessa Bell, Clive Bell, Roger Fry). Requirements for all students: active participation in class discussions, weekly postings to an electronic bulletin board, response papers, a short paper (5 pages in length), and a final exam. Undergraduates will complete one additional writing assignment: a longer paper (7-8 pages in length). Graduate students will complete three additional writing assignments: a longer paper with secondary resources (12 pages in length), an essay review of four articles or of a book-length study about one of our authors (4-5 pages in length), and a one-page abstract for the longer paper.

ENGL 640     The “New” Rise of the American Novel

Section A: U 4:05-6:25--D. Hall

This course will focus on the American novel and its development spanning the time frame of approximately 1789 to 1840.  Essentially the study will be of the newer versions of the “rise” of the American novel and examine the “cultural work” that novels undertook in the formative period of America’s revolutionary values and new literary form, the novel.  Most of the novels we will study were extremely popular, written by women, and eventually excluded from the canon. The armature of the course will be Cathy Davidson’s Revolution and the Word (a required text); we will also read together Wieland, The Coquette, Female Quixotism, Charlotte Temple, Fall River, Kelroy, Hope Leslie, The Last of the Mohicans and  perhaps a couple of more.  Selected required secondary reading on some of the texts will be made available via K-State Online.

Students will be expected to participate in class discussion and to, at least once, lead the discussion about a text including the preparation of a list of study/discussion questions.  Several short (2 pp.) responses to prompts due approximately every two weeks.  One long (18-20 pp.) paper on a subject or text chosen by the student and okayed by the instructor.

ENGL 661     Advanced Creative Writing/Fiction

Section A: T 7:05-9:55--S. Rodgers

Advanced writing of short fiction.  Prerequisite:  A grade of B or above in English 461, or the equivalent, and instructor permission.  This course will combine workshop discussion of student stories with the study of craft.  We will read and discuss contemporary short fiction as well as essays on form and technique.  Requirements include three short stories, writing exercises, written critiques to stories in workshop, and class participation.

ENGL 663     Advanced Creative Writing/Poetry

Section A: MWF 10:30--J. Holden

At least five original poems during the semester, plus individual conferences, plus supplementary reading.

ENGL 680     World War I American Literature and Culture

Section A: TU 2:30-3:45--T. Dayton

This course will investigate the relationship between a, perhaps the, central historical event of the 20th century and the representations of this event in a variety of cultural forms (novels, poems, editorials, posters, etc.).  We will focus particularly on the relationship between the war in its broad economic and geo-political significance and the imaginary versions of the war presented in the culture.  Our reading thus will be of three kinds:  theoretical, focusing on the relationship between fundamental social forces and individual consciousness (Andrew Collier, Goran Therborn); historical, focusing on basic facts of American involvement in, as well as analyses of the economic and geo-political significance of, WW1 (David Kennedy, Kees van der Pijl, Giovanni Arrighi); and primary (John Dos Passos, Ernest Hemingway, Ezra Pound, T.S. Eliot, Willa Cather, Edith Wharton, William Cunningham, Mary Marcy, Randolph Bourne, Walter Lippmann, John Dewey, Thorstein Veblen).  Requirements: two short in-class writing assignments, midterm and final, and a substantial research paper.

ENGL 710     18th Century Drama

Section A: M 7:05-9:55--B. Nelson

This course will be concerned with A) the important ramifications of having women on the stage (previous to the Restoration period boys played female roles); B) the first women playwrights; C) the impact of women's voices on male playwrights and the kind of plays being written.

We will study the work of important women playwrights such as Aphra Behn, Susanna Centlivre, and Elizabeth Inchbald. We will read the "she-tragedies" of Nicholas Rowe, who centered entire plays around his female characters. We will look at the position of "older women" in plays written by famous male writers such as Congreve, Goldsmith, and Sheridan. We will consider the new prevalence of "rape" scenes (Thomas Otway's "Venice Preserved" for example) and the sexual exploitation of women on and off the stage. We will read feminist criticism on the period by such scholars as Laura Brown, Janet Todd, Katharine Rogers, and Eve Sedgwick.

Requirements: Two-part midterm; final at scheduled time; short response papers; critical essay project on topic of interest to student.

Approved elective for the Graduate Certificate in Women's Studies.

ENGL 720     Studies in a Major Author: Louisa May Alcott and Mark Twain

Section A: MWF 9:30--G. Eiselein

Focusing on two of the funniest, most beloved, and widely read American authors, this course examines the late-nineteenth-century careers of Louisa May Alcott and Mark Twain from their early travel sketch writing to their autobiographical writings and most famous classic works. We will also read and explore each authors' darker and lesser-known writings, such as Alcott's early thrillers and Twain's scathing late essays and short fiction. Gender and race in literature, styles of American humor, the emergence of children's literature as a genre, the cultural work of their writing, and their continuing presence in American literature and culture will all be important topics of study. The books for the course include: Adventures of Huckleberry Finn, The Adventures of Tom Sawyer, Pudd'nhead Wilson, Innocents Abroad, Selected Shorter Writings of Mark Twain, Little Women, Little Men, Eights Cousins, The Sketches of Louisa May Alcott, and The Portable Louisa May Alcott. The semester's work will include two short analytical papers, a presentation, a research paper, and a final examination.

ENGL 740     Studies in Film Theory

Section A: TU 1:05-2:20--M. Janette

This course develops an advanced understanding of film as a complex cultural medium through the discussion of key theoretical and critical approaches: realist theory, genre criticism, auteur theory, semiology, structuralism, feminist theory, and post-Colonialist theory (and maybe more).  Weekly attendance at film screenings will be required.  (Monday evenings.)

ENGL 757     Studies: Language and Culture

Section A: TU 9:30-10:45--I. Ward   

This semester our topic will be Language and Culture, and we’ll focus on four questions that have commanded increasing attention over the last several years: (1) Is the American Citizen’s Constitutional right to free speech becoming restricted because of sociopolitical pressures like “political correctness,” or appeals to patriotism during war time? (2) Should English be declared the official language of the United States? (3) How have the tone of public debate enhanced or hindered citizen participation in debates on national issues and during national elections? (4) How should non-standard dialects such as African American Vernacular be dealt with in U.S. public schools?

Each of these topics will consume about one-fourth of the semester, and no special knowledge of or expertise in linguistics is necessary for students to participate in the course.  I will divide students into four groups, each group being responsible for one of the issues listed above. It will then become each group’s task to thoroughly research its assigned topic and present its findings to the class during the assigned three-week period. Final grades will be based on the group’s presentations, on student participation and engagement in the topics that other students present, and on a formal written paper in which each student addresses in some detail one specific question or issue related to her or his groups assigned topic.

ENGL 759     Studies in Technical Communication

Section A: W 7:05-9:55--P. Marzluf

This course provides students with an introduction to technical/professional writing and to the teaching of technical communication. In addition to discussions and brief presentations, students will gain experience writing short, ubiquitous professional documents, such as evaluation memos, letters of inquiry and response, and usability reports. In the first half of the course, students will also complete a literature review about a particular concept or problem in technical communication. In the second half of the course, students will have the option of specializing either (A) as a professional/technical writer, in which they will produce documentation or a report for a local university or service organization; or B) as a teacher, in which they will observe technical or scientific writing classes, write up observation reports, and construct unit lesson plans.

Possible discussion topics include the impact of new technologies on writing and communication, professional style, visual rhetoric and design, changing notions of authorship and audience, the writing processes of experts, corporate ethics, and feminist critiques of technical communication. The overall agenda of the course is to demonstrate that technical communication is not peripheral to English Studies but is a central part of its mission to impact the assumptions and attitudes of how language and writing are conceived within and outside the academy.

Texts: Mike Markel’s Technical Communication, Susan Hilligoss’s Visual Communication, and a coursepack of additional readings.

ENGL 761     Creative Writing Workshop: Short Story

Section A: MWF 2:30--I. Rahman

A writing workshop limited to 15 students, most of whom will be graduate students. Students will write original short stories that will in turn be read and constructively critiqued by their instructor and peers. In addition to workshop, we will read and discuss contemporary short stories paying close attention to various elements of craft---structure, voice, point of view, narrative drive, sentence construction, etc. Course requirements include two short stories; weekly creative reading-responses; written critiques of classmates’ work; regular participation in workshop discussion; and an in-class presentation of a collection of short fiction by a single author published in the last ten to fifteen years. Each graduate student will also examine and report on a literary magazine or journal, selected in consultation with the instructor.

ENGL 762     Advanced Playwriting

Section A: TU 2:30-3:45--C. Macfarland

ENGL 805     Practicum/Teaching University Expository Writing

Sections A, B, C, and D: M 3:30-5:50--P. Marzluf, D. Smit, D. Murray, R. Mosher, J. Henderson

Required of GTAs teaching Expository Writing in the English Department. Instruction in the theory and practice of teaching in a university expository writing program. Repeatable. Prerequisite: Graduate status and a GTAship in the English Department. Credit/No Credit.

ENGL 825     Seminar: World War I Literature and Culture

Section A: TU 11:30-12:45--C. Hauck

The central questions this course aims to explore are “How can the experience of the Great War best be represented and preserved?” and “Who is best qualified to represent the War?” After securing a theoretical foundation for out study, we will focus primarily on pre-WW2 representations of WW1, particularly in poetry (the great canonical warrior poets as well as the “lesser” or at least non-canonical non-warrior poets), novels (All Quiet on the Western Front, Not So Quiet, Non-Combatants and Others), film (All Quiet on the Western Front, The Spy in Black, Cavalcade) and memorial (especially Lutyens Cenotaph). However, at the end of the semester we will turn to more contemporary representations, such as Pat Barker’s Regeneration.

Students will share responsibility for leading some classroom discussion, for making a formal presentation of their research, and writing a research article.

ENGL 830     Seminar: Race in American Literature

Section A: T 4:05-6:45--L. Rodgers

This seminar will examine a group of important American literary texts from just prior to the Civil War to the present whose primary concern is the problem of black-white racial conflict.  Events as historically separated as the Civil War, the Black Power movement, the Los Angeles riots and the O.J. Simpson trial point to how race has always been among the most volatile, sensitive, and important issues in American life. A guiding assumption will be that the problem of race in America generally and American literature specifically remains difficult to study because too little is understood about the historical, cultural and social contexts in which the seminal works, by both black and white writers, must be placed.  American literature has proven to be perhaps the most historically accessible and culturally revealing place to turn for sensitive and complex renderings of the American racial geography.  Our aim in the course will be to read the most significant American authors (that is, those most often taught in school and college curricula and most often read by public audiences) as they inform and are informed by the racial worlds in which they write. The eras to be studied include the coming of the Civil War (Douglass, Melville, and Stowe); the failure of Reconstruction and the establishment of a harsh "color line" in the Supreme Court doctrine of "Separate but Equal" (Twain, Du Bois); the move into the Segregation Era during the first half of this century, including the strong surge of black cultural nationalism and the complete re-shaping of American cities due to the  migration north of  millions of black southerners (O'Neill, Wright, Faulkner); and finally the shift into the post-Civil Rights era, when attention to race fanned out beyond binary black/white distinctions to include all people of color and beyond simple American boundaries to include multi-national articulations of racial distinction. Requirements will include, among others, leading a class, a book review, and an extended paper.