Spring 2017 Course Descriptions

Course Descriptions Spring 2017

English 110: Intro to College Writing for ESL Students, CRN 3051

Deborah Sundmacher, MWF 11:15am-12:10pm

This course, for non-native speakers of English, is a pre-requisite for English 121.  Instruction will include the fundamentals of various modes of written expression, with an emphasis on writing as a process.  Students are required to take a written test before the semester begins to ensure proper placement in an English class.  In some cases, a student can test out of English 110 and into English 121.


English 115: Intro to College Writing (formerly numbered Engl 100), CRN 3446

Dennis Clausen, M 2:30-5:20pm

“Introduction to College Writing” introduces students to the writing standards and strategies they will encounter in all of their college courses, helping them to succeed at USD. It provides students with more sophisticated writing and editing strategies so they can continue to improve these skills in other academic courses. It also prepares them for the writing standards that will be required of them when they enter the business and professional communities after graduation.

Educators have known for some time that writing plays an essential role in discovering ideas, understanding their significances and relationships, and articulating them to inform and influence other people. Writing is indispensable in the various stages of our attempts to fully comprehend any subject matter or academic discipline. On a more practical level, one can argue that never before in our nation’s history has there been more demand for our universities to emphasize writing instruction in all academic courses. Many employers also test the writing skills of potential employees before hiring them. The computer age has provided all of us with more information than ever before, but we still need writers to communicate this information clearly and persuasively in our universities, businesses, and professional communities.

English 121: Composition and Literature

Various Professors
Fulfills the core curriculum requirement in lower-division written literacy. Practice in developing skills of close observation, investigation, critical analysis, and informed judgment in response to literary texts. Students are encouraged to use the Writing Center, staffed by trained peer tutors.

English 222-01 & -02: Poetry, CRNs 1240 & 1237

Sara Hasselbach, MWF 11:15am-12:10pm & 12:20-1:15pm

In this course, we will explore the meaning of poetry and its major forms in British and American contexts. “Poetry, I feel, is a tyrannical discipline,” Sylvia Plath said in 1962, and we will spend a semester unpacking this discipline: its structures, forms, meanings, ambiguities, evolutions, revolutions, and tyrannies. Coursework will include critical responses to poetry, as well as creative and imitative engagements with poetic form. Poetry from different eras (between 1375 and 2016) will be organized by themes—such as death, heroism, nature, religion, seduction, and rebellion—and we will consider works from the past alongside works from the present.

English 222-03: Poetry, CRN 1238

Lisa Hemminger, T/R 7:45-9:05am

This course will bring you to new perspectives and awareness of diverse types and times of poetry. Beyond typical reading, recall, and writing assignments, learning activities will include: problem-solving challenges; short-term and longer-term partner/group assignments; workshops; drama and games. By the end of the course, you can expect to identify different forms, pieces, and devices of poetry, explicate and craft poems while practicing and critiquing techniques, and discuss contextual influences that shape the nature of poetry.

English 222-03: Poetry, CRN 1239

Sister Betsy Walsh, T/R 10:45am-12:05pm

In this course we will study poems from different eras and different minds. We will focus on six poets from the sixteenth century to the present.  We will begin with the Medieval theory of beauty which was the foundation of medieval poetry. Language and its development began to create society and the way in which human beings learned of themselves through these modes. The work of the classical world that was studied in the Middle Ages and molded into something somewhat different. Our first poems will be the sonnets of Shakespeare. In studying these we will also study the history of the sonnet which goes back to the twelfth and thirteenth centuries. We will then move to the poems of Gerard Manley Hopkins who was a British poet who became a Catholic priest and ended up working in Ireland. He created different styles in the poems he created and became one of our greatest poet. Anna Akhmatova give us a glimpse into the history of Russia. She wrote many kinds of poems and died in 1889.  Elizabeth Bishop (1927-1979) was an American poet who also wrote new modes of poetry. She encountered many difficulties and is one of our great poets.  Langston Hughes was a renowned poet who expressed the frustration and sadness that a black person experiences living with the white. Among others he opened the doors to a surge of African American poets and poetesses. Finally, Seamus Heaney, one of the great Irish poets who shares his sorrow when the British attacked his country and secured its northern part.  Several years ago he received the Nobel Prize for the wealth of his poetry. He was a brilliant writer and a great poet. These poets share their lives with us. We will study the context of their poetry, and if time allows we may write some poems or study a poem that you might share with the class. I believe you will enjoy with these poets and their work.

English 223-01 & -02: Science Fiction Literature, CRNs 1236 & 1234

Adam Veal MW 2:30-3:50pm & 4:00-5:20pm

"What is the nature of humanity?"  "What is humanity's place is the cosmos?"  In this course we will read and analyze science fiction that asks the important questions.  Other readings, from critical theory, psychoanalysis, and newspaper articles on the modern workplace, will also be included.  Special themes will cover both the robot as compared to Freud's Theory of the Uncanny, as well as the robot's relationship to how the perception of labor changes from the early 20th to the 21st centuries.

English 223-03 & -04: Gothic Mediations, CRNs 1235 & 2134

Ivan Ortiz, T/R 9:15-10:35am & 10:45am-12:05pm

This course is designed to introduce students to the literary history of the Gothic genre, from its origins in the Enlightenment through the early 20th century. Surveying novels, poems, short stories, critical essays, media history, and films, we will consider the Gothic as a genre and a mode that resists containment. In other words, from its earliest traces, the power of Gothic literature and of the supernatural has rested in its reach beyond the constraining spaces of fiction and poetry into the world of the reader. This “reality breach” native to the Gothic fundamentally transforms our perception and understanding of the world that surrounds us. We will call this reality breach mediation. As we will see, the phenomenon of Gothic mediation is primarily a reaction to the Enlightenment repression of the supernatural, both as a result of the rise of modern science and England’s religious history as a Protestant nation haunted by a Catholic and feudal past. Texts we will discuss include The Castle of Otranto, Frankenstein, Dracula, and The Picture of Dorian Gray. 

English 224-01 & 224H-02: Financial Fiction, CRNs 1232 & 1233

Sister Mary Hotz, MWF 8:00-8:55am & 9:05-10:00am

Thomas Piketty, contemporary economist and author of Capital in the Twenty-First Century, makes a claim for the relationship between economics and the humanities, in particular, film and literature: “Film and literature . . . are full of detailed information about the relative wealth and living standards of different social groups, and especially about the deep structure of inequality, the way it is justified, and its impact on individual lives. Indeed, the novels of Jane Austen and Honoré de Balzac paint striking portraits of the distribution of wealth in Britain and France between 1790 and 1830. Both novelists were intimately acquainted with the hierarchy of wealth and its inevitable implications for the lives of men and women, including their marital strategies and personal hopes and disappointments. These and other novelists depicted the effects of inequality with verisimilitude and evocative power that no statistical model or theoretical analysis can match” (2).
The aim of this course is to explore the relationship Piketty describes. How, exactly, are the consequences of financial decisions represented in the lives of people at particular historical periods? What are the stories being told about financial matters? How do authors frame their representations for readers? What effect does this framing and language have on the decisions characters make? Increasingly, behavioral economists make the case that economists have sought to define themselves only in terms of their scientific and mathematical methods. These methods, they claim, overlook socio-economic and political problems at hand as well as the motivations of individual people who seem, well, less than rational in their decisions about money. Literature and film, then, can make a significant contribution to our understanding of financial forces and their influence on society. Stories, indeed, do matter. In addition to some theoretical work by Marc Shell and D. N. McCloskey on the rhetoric of economics, possible texts may be selected from the following: William Shakespeare’s The Merchant of Venice; Jonathan Swift’s , “The Bubble,” “A Modest Proposal,” Wood’s Halfpence poems, selections from Drapier’s Letters; Bernard Mandeville’s “The Grumbling Hive” from Fable of the Bees; Daniel Defoe’s Moll Flander, Robinson Crusoe; Charles Dickens, A Christmas Carol and/or Hard Times paired with Margaret Atwood’s Payback; Henrik Ibsen’s A Doll’s House; Edith Wharton’s House of Mirth; William Thackery’s Barry Lyndon; and Frank Baum’s The Wizard of Oz.
Possible Contemporary Works: Jon Krakauer’s Into Thin Air; Michael Lewis’s Liar’s Poker; Peter Mountford’s The Dismal Science; and John Lanchester’s Capital.
Possible films of interest: “Wall Street”; “The Wolf of Wall Street”; “Wall Street: Money Never Sleeps”; “Margin Call”; “Arbitrage”; “Blue Jasmin”; “Barry Lyndon”; “House of Mirth”; “L'Argent”; “Trading Places”; and “We, the Economy”.
Section 02 is Honors only. 

English 224-03 & -04: Love, Sex, and Science, CRNs 1231 & 1581

Joanne Spiegel, 2:30-3:50pm & 4:00-5:20pm

Love makes the world go around, if we are to believe the song lyrics.  Even a cursory look at commercials, movies, music videos, personal ads, and happy couples strolling hand in hand around campus seems to confirm the truth of this. Not to mention that poets, novelists, and playwrights have devoted plenty of ink to the subject.  This class will explore the nature of romantic love. Through the literature we read together we will focus on how love has been perceived during different time periods. Our readings will lay a foundation for one of the central questions of the course: Is love an unchanging, essentially biological phenomenon or do factors like culture and historical era determine how we define and experience love?  With an eye toward exploring that question, we’ll begin with the Greeks who attempted to come to terms with love by creating a god who both represented and controlled this mysterious phenomenon.  We’ll move forward from there exploring a treasure trove of literature spanning over 2500 years and several languages. Along the way we will also take time to listen to contemporary love songs and discuss romantic comedies on film. We’ll end the course with a scientific reading on love, which will raise interesting questions: Is love simply about dopamine and brain chemicals? If so, what’s the difference between sexual chemistry and love?  Between “hooking up” with someone and that “can’t get you off of my mind” feeling?  Is romantic love simply a dressed up version of sexual attraction?  A trick evolution plays on us to encourage us to reproduce?  These are just some of the provocative questions we’ll be discussing as we explore the relationships between love, sex, and science.

English 225-02 & -03: U.S.Lit: Women of Color, CRNs 2298 & 2299

Marcelle Maese-Cohen, MW 4:00-5:20pm & 5:30-6:50pm

If the election of Barack Obama provides evidence for what some describe as a post-racial United States, does the historical nomination of a female presidential candidate provide the same potential for arguing that the project of feminism is now outdated? And, if so, what does U.S. women of color politics look like in the context of post-racism and post-feminism? By studying the relationship between contemporary social movements and literature by women of color, this course will expand our framework for understanding the enduring relevancy of anti-racism and anti-sexism. We will contextualize Black Lives Matter, Resistance Against the North Dakota Access Pipeline, and the UndocuQueer movement within a tradition of Black, Chicana, and American Indian literatures.  We will historicize the relation between the U.S. women’s movement and the abolition of slavery, study a decolonial understanding of gender, and develop an intersectional critical lens for thinking about citizenship, labor, and state violence. In particular, we will consider the roles of social media and popular culture—is Beyoncé a terrorist as bell hooks suggests?—and the commodification of trans culture. Texts will include Toni Morrison’s Jazz, Claudia Rankine’s Citizen: An American Lyric, Reina Grande’s Across a Hundred Mountains, Leslie Marmon Silko’s Sacred Water, and Beyoncé’s visual album Lemonade, as well as selections from Gloria Anzaldúa’s Borderlands, Leslie Marmon Silko’s Yellow Woman and a Beauty of Spirit, Audre Lorde’s Sister Outsider, and Janet Mock’s Redefining Realness.

English 225D-04: U.S. Lit: African-American Literature, CRN 2300

Ebony Tyree, T/R 7:00-8:20pm

This course will survey the work of African American writers/artists and how their work establishes credibility in activism through journey, as well as the ways in which institutionalized racism has informed the work of all U.S. writers/artists. We will read narratives written by Harriet E. Wilson and Frederick Douglass; novels by Zora Neale Hurston and Toni Morrison; collections of poems and monologues by Alice Walker and Anna Deavere Smith; films/videos composed and directed by Ana Deavere Smith, Spike Lee and Beyonce. In addition, we will examine critical work from scholars such as bell hooks, Stuart Hall and Cornel West in order to consider the cultural and theoretical implications of the course content and themes. 

English 225D-70: U.S. Lit: LGBTQ Literature, CRN 2297

Jason Crum, MWF 10:10-11:05am

In this course, we will examine the 20th & 21st Century history of lesbian and gay self-representation in the United States through examination of literary texts and popular culture. A starting point for understanding contemporary notions of gay, lesbian, bisexual, queer and transgender identity, we will interrogate the intersections of LGBTQ identity with race and class in primarily post-Stonewall US literary & popular discourse. Primary readings will include works by James Baldwin, Adrienne Rich, Alison Bechdel, Audre Lorde, Nella Larsen, Samuel Delaney, Annie Proulx, Gloria Anzaldua, Gertrude Stein, Joanna Russ, Allen Ginsburg, & John Rechy. Critical readings will include works by Judith Butler, Anne McClintock, Michel Foucault, Sigmund Freud, Elaine Showalter, and others.
Transfer Preceptorial only.

English 228-01: Culture, Identity & Conflict, CRN 1229

Kyle Hetrick, MWF 12:20-1:15pm

Through novels, novellas, short stories, and film, we will read and watch stories of cultures coming in contact with one another and how differences in identities make thematically intriguing works of literature.  The course will primarily contain plots where people of different nationalities interact with one another, but other identity markers which will be discussed include race, gender, ethnicity, religion, and socio-economic class.  The works' times of production will range from the very end of the nineteenth century to present day (at least seven of our stories and films were written less than a decade ago).  The authors and directors that we will experience in the class span the globe.  The five longer works which we'll read for the semester are Vladimir Nabokov's Lolita, Albert Camus's The Stranger, Joseph Conrad's Heart of Darkness, Mohsin Hamid's The Reluctant Fundamentalist, and Basma Abdel Aziz's The Queue.  Authors of shorter works that we will read include Gabriel Garcia Marquez, Italo Calvino, Chimamanda Ngozi Adichie, and Yiyun Li, among others.  We will also watch, either wholly or in sections, Asghar Farhadi's A Separation, Ari Folman's Waltz with Bashir, Alfonso Cuaron's Children of Men, and Francis Ford Coppola's Apocalypse Now.  Warning:  many of these works are intense!  The journey can be harrowing but the rewards are fulfilling!  As Alane Salierno Mason, founder of Words Without Borders, says, "Not knowing what the rest of the world is thinking is both dangerous and boring!"

English 228-02: Film: The Silent Era, CRN 1230

Joe McGowan, MW 2:30-3:50pm

An introduction to the earliest period of film history, the silent era (roughly 1888-1929), with an examination of the “grammar of film,” a phrase often attributed to American director D.W. Griffith and his innovations in visual style and narrative technique during the period.  We will begin with early short narrative films (Georges Méliès’s Le Voyage dans la Lune [1902] and Edwin Porter’s The Great Train Robbery[1903]), and progress toward some of the great silent-era epics (Giovanni Pastrone’s Cabiria [1914], Cecil B. DeMille’s first take on The Ten Commandments [1923], Raoul Walsh’s The Thief of Bagdad [1924], in addition to those of Griffith).  Attention will also be given to phenomenal growth of film as an international medium; the relationship between and development of stage and film acting; the various genres pioneered in the era and the influence of contemporary artistic movements (Expressionism, Surrealism) on the cinematic form; and the dawn of the “talkies” in the late 1920s.  Other films to be considered may include: Fred Niblo’sBen-Hur (1925),  F. W. Murnau’s Nosferatu (1922) and Sunrise (1927), and Paul Fejos’s Lonesome (1928).

English 228-03: Modern European Literature, CRNs 2224 & 3447

Irene Williams, MW 2:30-3:50pm & 4:00-5:20pm

Modern Europe brought us revolutionary art and revolutionary violence, including genocides.  Our readings in the literature invite us to feel and to think about some of history’s crucial lessons and they are also an opportunity to learn how to read and find pleasure in complex, disturbing, exhilarating stories. And by the way, what is a story, anyway?  We will be reading, talking about, and writing about stories that challenge readers’ imaginations; assault their preconceptions; and test their tolerance for ambiguities, puzzles, and mysteries.  Prepare to be provoked and surprised!   A selection of writers from among the following:  Franz Kafka, Dasa Drndic, Georges Perec, Herta Muller, Marguerite Duras, Thomas Bernhard, Peter Handke, Ying Chen, Tadeusz Borowski, Primo Levi, Marina Tsvetayeva, Isaac Babel, Svetlana Alexievitch.   Seminar-style class, participation expected.  Reading and rereading, writing and rewriting.  Independent thinkers welcome.  

English 228-05 & -06: Global Anime & Manga: Reading Contemporary Culture, CRNs 3448 & 3449

Koonyong Kim, T/R 2:30-3:50pm & 5:30-6:50pm

This course examines anime and manga as significant narrative forms that provide us with critical insights into contemporary culture and its future. Starting with widely-acclaimed anime and manga texts from East Asia, we will also look at their European and North American counterparts as a way to delve into transcultural production, circulation, and consumption in the age of globalization. As we analyze anime and manga against the backdrop of the ascendance of global visual culture, we’ll place special emphasis on such topics as globalization and cultural hybridity; nature and ecology; reality vs. simulation; utopia and apocalypse; new media and cyberspace; human-machine interfacing; posthumanism; and techno-Orientalism.

English 231: Children's Literature, CRN 1228

Lisa Smith, MWF 12:20-1:15pm

Literary and popular texts produced for children. Emphasis on analysis B how children’s texts construct gender, sex, race, class, family structure, power relations, and violence, for example. Includes phonemic awareness, word analysis, and field experience. Reserved for students in credential programs.
For Liberal Studies majors. 

English 280-01 & -02: Intro to Shakespeare, CRNs 1226 & 1227

Stefan Vander Elst, T/R 7:45-9:05am & 9:15-10:35am

This course will explore some of the most important dramatic works of William Shakespeare, arguably the greatest English playwright of all time. We will explore the language of each play individually and discuss major themes, stakes and metaphors that connect the plays to each other. Finally, we will look at the greater historical, political and intellectual circumstances of Elizabethan England in order to contextualize Shakespeare and his works.

English 298: Southeast San Diego Tutoring Project, CRNs 1440, 1441, & 1442

Timothy Randell

This is a ten-week course/internship during which you will tutor children in a local elementary or middle school in basic reading, writing, and math (depending on your assigned teacher/class). You will work at the school to which you are assigned with a teacher who will structure your activities with the children. Each week you will write a short journal to reflect on your experiences concerning a specific element of the school, your pupils, and other experiences concerning lesson plans or the learning environment (see the attached journal assignment sheet for specific topics). You will turn in the journal assignments periodically throughout the semester (not once a week or all at once at the end of the semester) to ensure accurate, unhurried, and thoughtful reflection. Tutors may commit to 3, 6, or 9 hours of tutoring per week (for 1, 2, or 3 academic credits per semester, respectively), and the course may be taken more than once (as often as tutors wish) to accommodate academic needs and time schedules.
The course counts as academic credit in an English elective. Lower Division students register for English 298, and Upper Division students register for English 498.

English 300-01: British Literature to 1800, CRN 1225

Jeanie Grant Moore, T/R 4:00-5:20pm

Ten centuries of literature is an immense span of time for one semester, but we will attempt to achieve some depth as well as breadth, moving from the Old English Beowulf through the medieval and Renaissance periods, sweeping on through the Restoration, and finishing with “The Age of Reason,” the 18th Century. We will pay particular attention to the historical, political, and social contexts of the works we read, explore our personal relationship to them, and consider various modern approaches to literature as we think critically about these texts. Texts include: The Norton Anthology of English Literature, Vol A: The Middle Ages, 8th edition; The Norton Anthology of English Literature, Vol B: The Sixteenth Century and Early Seventeenth Century, 8th   edition; and The Vicar of Wakefield by Oliver Goldsmith, Oxford edition.
English 300 is required for both English majors and minors.

English 304W-01: Advanced Composition, CRN 1224

Timothy Randell, MWF 9:05-10:00am

Advanced Composition offers intensive practice in active reading, critical thinking, and close analyses of texts and writing within various rhetorical situations, genres, and discourse communities. The course highlights academic skills such as analysis, synthesis, and evaluation. It emphasizes an understanding of what Wayne Booth calls “the rhetorical stance,” which includes “discovering and maintaining in any writing situation a proper balance” among three aspects of the communicative process:  the available arguments about the subject itself;  the interests and peculiarities of the audience; and the voice (the implied character) of the speaker. This course asks students to consider how different audiences and contexts shape the rhetorical situation. We will analyze texts from popular culture in class to explore ideas related to the assignments, and you will research examples of popular culture on your own as part of your writing projects. 


English 304W-02: Advanced Composition, CRN 2302

Vivienne MacAdam, MWF 10:10-11:05am

This course is a workshop course in the writing of expository, descriptive and critical prose. Texts will include: Gabriel Garcia Marquez, Of Love and Other Demons; Nadine Gordimer, Jump and Other Stories; Michael Ondaatje, Running in the Family; J.M. Coetzee, Foe; and Haruiki Murakami, Hard Boiled Wonderland and the End of the World.

English 312-01: Women Writers of the Middle Ages, CRN 2037

Stefan Vander Elst, T/R 2:30-3:50pm

This course will discuss the works of Western European women writers and thinkers in the period between the tenth and the beginning of the fifteenth centuries. This course will discuss the works of women writers and thinkers in the Western European Middle Ages.  Often marginalized and even ridiculed by the dominant male intellectual community, women nevertheless made important contributions to literature, science and philosophy. We will investigate how female intellectual discourse – both sacred and profane – could still flourish in a hostile environment. We will furthermore study the way women described their position within society, and discuss the unique ways women furthered their intellectual development. 

English 312-02: Old Norse, CRN 3450

Joseph McGowan, MWF 10:10-11:05am

Mikinn öldung höfu vér nú at velli lagit, of hefir oss erfitt veitt, ok mun hans vörn uppi meðan landit er byggt. ‘We have laid low a great hero, and had great difficulty in doing so; his last stand will be remembered as long as the land is inhabited.’ So says Gizur of Mosfell when he and his men have surprised Gunnar in his home at Hlíðarendi in the medieval Icelandic Njal’s saga. A North Germanic language, Old Norse/Icelandic was spoken from Scandinavia west across the Orkneys and Shetland Islands to Iceland, Greenland, and, for a time, Labrador. The language records too a wide-ranging literature, from the cosmology and apocalypse of the prose and poetic Eddur, the chronicles of warrior-kings, skaldic verse, and the great sagas of the medieval Icelandic republic. We will approach the literature in translation and then, increasingly, in the original. The course will also serve as an introduction to medieval Scandinavian mythology and religion, their gods (Óðinn and Þórr, Freyja and Freyr, Loki, and company) and heroes, art and material culture, history and legacy. 

Honors 314: Voice & Text, CRN 3262

Fred Robinson (English) & Jan Gist (Theatre), W 2:30-5:30pm

What does it mean to find the voice of a text? What is your own authentic voice? How can these two voices be made one so that you express yourself as you express the text? How can the voice emanating from your body, breath and mind express the language, imagery and meaning/intention of the text – that is, deliver the text, not only to yourself but to an audience. We will read plays, poems and stories, as well as a variety of materials on voice and speech skills. Class will meet once a week and time will be divided into 1) brief vocal exercises, 2) analytical discussions of a text, and 3) rehearsed and formal recitations to the class. At the end of the semester, we will hold a public reading involving all students. We will also require attendance at one literary reading and one play, on or off campus. Texts will include a short anthology of poems, three or four plays (including Shakespeare), and handouts of short stories + numerous handouts of essays, speeches, monologues, etc. This class will be valuable for majors in any field requiring analyses of texts, for students entering any field of work after school that involves talking and writing expressively, and for students who personally want their own voices to be more expressive and/or who want to hear more of the writer’s voice in what they read.
This course will satisfy upper-division major/minor requirements in English and Theatre, as well as Core English Literature.
For Honors students only.

English 318: Development of the English Language, CRN 1221

Joseph McGowan, MWF 11:15am-12:10pm
This course will trace the origins and historical development of the English language from its IndoEuropean roots to contemporary dialects of American English and varieties of World English. By the end of the course students will have mastered the fundamentals of language analysis and introductory linguistics and developed the ability to describe and analyze language and language varieties. Particular emphasis will be placed upon the phonology, morphology, syntax, and semantics of current American English, with additional emphases upon dialectology, language change, and theories of language acquisition.

English 336: Jane Austen, CRN 2304

Ivan Ortiz, MW 2:30-3:50pm

Two hundred years after the publication of her novels, Jane Austen still has a firm hold on the literary—and cinematic—world. We find Austen everywhere, from a steady train of Hollywood adaptations to zombie fiction. What is it about Austen’s carefully crafted social worlds that keeps us coming back for more? This course will introduce students to Austen’s novels and juvenilia by situating them in the author’s own time. We will address social and political issues facing her characters, including marriage, inheritance, female education, slavery, the French Revolution, and the Napoleonic Wars. Students will also read a short selection of critical essays that open up fresh questions in literary criticism and theory now. In a series of short essays and a final paper, students will write critically about Austen’s characters, her style, and the culture that surrounded her. At the end of the course, we will debate Austen’s lasting importance to our own time.

English 344W: Vicorian Novel, CRN 2033

Sister Mary Hotz, MWF 11:15am-12:10pm

In this course we will become serial readers, delving into 3 to 4 major novels on the installment plan. That is, we will read novels according to their serialization schedules, or original monthly numbers, and we will read the novels simultaneously, just as the Victorians did. For example, Mondays may be devoted to George Eliot’s Middlemarch, Wednesdays to Charles Dickens’s Bleak House, and Fridays to Bram Stoker’s Dracula. Elizabeth Gaskell’s Cranford may also be included. Reading the novels side-by-side, with life intervening, acknowledges our multitasking culture as well as customary Victorian reading practices. The close reading across novels also allows for more immediate comparisons of styles, structures and themes.
For English majors only, or by instructor approval. 

English 356: U.S. Literature 1900-1940, CRN 2089

Dennis Clausen, T 6:00-8:50pm
English 356 will focus primarily on the development of American fiction and poetry from 1900 to 1940. The emphasis will be on poems, short stories, and novels from this time period, although occasional films and essays will also be used to reinforce major themes and issues in the course. Interdisciplinary approaches from history, philosophy, and art will provide a broader context for the required readings. The course will also address the innovative storytelling techniques that helped to create American literature. Students will be encouraged to view the texts as artistic achievements deserving of close, detailed analysis, but also as literary time capsules that reflect our nation’s evolving cultural values and historical experiences. The ultimate goal of the course will be to demonstrate the rich and diverse ways some of the classics of American literature are interconnected. Students will learn that there is a unity to the development of the American literary tradition as the ideas and issues that emerged early in our history continued to shape our national literature well into the twentieth century.

English 357W: Modern U.S. Autobiography, CRN 2305

Irene Williams, T/R 9:15-10:35am

What is the autobiographer up to?  How does she or he compel the reader’s interest?  What will I learn about persons in time, place, and culture?  What will I learn about autobiographical literature? What will I do with the information I get from reading the story of another’s life as the autobiographer has constructed that life?  How will the way writers imagine their lives influence the way I construct the story of my own life in my mind and in the world? 
Some possible readings (some, not all).  We will likely be reading the works of seven authors.  If you are considering the course and have some preferences, let me know!
Whitman, Specimen Days; Gilman, The Living of Charlotte Perkins Gilman and Women and Economics; Goldman, Living My Life; Berkman, Prison Memoirs of an Anarchist; Stein, Everybody’s Autobiography; Toklas, What is Remembered; Fitzgerald, The Crackup; Dahlberg, Because I was Flesh; Lorde, Zami: A New Spelling of My Name and Sister Outsider: Essays and Speeches; Baldwin, Collected Essays and The Cross of Redemption; Ginsberg, Kaddish and Deliberate Prose; Cage, Silence; Feldman, Give My Regards to Eight Street; Rankine, Citizen: An American Lyric.
Course is seminar style.  Prepare by reading and re-reading, writing and re-writing, and making time in your schedule for mental prep work that will enable you to participate in discussion.
For English majors only.

English 370: Transnational Literature & Film, CRN 3451

Koonyong Kim, MW 4:00-5:20pm

This course examines contemporary Asian, Asian-American, and American literature and film. Since the Second World War, the Asia-Pacific has arisen as one of the most dynamic and vibrant sites of social, cultural, and economic production, circulation, and consumption. With a special emphasis on this geographical region as a transnational space that is shaped by cultural and informational exchanges within and across the Pacific, we will look at a broad range of contemporary cultural texts, including postmodern detective fiction, the cyberpunk novel, graphic fiction, memoir, digital literature, film, manga, and anime. In doing so, we will examine the ways in which transpacific cultural exchange has played a shaping role in the inception and evolution of new literary and filmic narratives. We will analyze texts by Murakami Haruki, Paul Auster, William Gibson, Raymond Carver, Hayao Miyazaki, Satoshi Kon, Kar-wai Wong, Zhangke Jia, Sofia Coppola, and Mamoru Oshii, among others.

English 375-01 & -02: Intro to Creative Writing, CRNs 1220 & 1443

Brad Melekian, T/R 9:15-10:35am & 10:45am-12:05pm

We will approach this course with the understanding that studying creative writing is different from the study of something more analytical—mathematics, say. To that end, some basic premises will serve as the foundation for this course: That good writing is the culmination of serious thinking, heartfelt conviction, diligent work and a commitment to rewriting, reshaping, rethinking. That learning to write seriously, originally and creatively—which must be the goal of every student enrolled in this course—is more an instruction in process than a process of downloading information. Your enrollment in this course is a signal of your dedication to the craft of writing, & to doing the work necessary to further your abilities as a writer. It is the operating premise of this course that the most effective means of doing this is to read, & to write. In this course, students will be expected to write creatively every week, to read voraciously, & to write commentaries on the techniques they encounter in what they read. With this operating premise, it's important that students are dedicated to the coursework that will be expected of them. This course will be time-consuming and demanding. We will read & write in the genres of fiction, nonfiction & poetry.


English 376: Screenwriting, CRN 1218

Dennis Clausen, M 6:00-8:50pm

To understand the craft of screenwriting, students must learn to look at literature in an entirely different way. Literary techniques that are often on the fringes of more traditional literature courses that focus on ideas, themes and/or issues take on a whole new meaning. To the screenwriter, structure, foreshadowing, plot, sub-plot, dialogue, character development, dramatic conflict and many other techniques are indispensable tools the writer must master to create a compelling story that holds the viewer’s interest. Structural issues, especially, are paramount concerns for any successful screenwriter. Indeed, many screenwriters insist that the 3 most important elements in a screenplay are STRUCTURE, STRUCTURE, AND STRUCTURE! Students will be expected to participate fully in our discussions of the art of storytelling as it pertains to screenwriting. For this reason, classroom attendance is mandatory. There will be oral reports and other assignments, but the major requirement will be for each student to produce a 60 page motion picture screenplay.
Although there are some exceptions, the class will be primarily limited to English majors who have completed English 375.

English 380: Literary Theory, CRN 1219

Atreyee Phukan, T/R 10:45am-12:05pm

This course will appeal to any English student interested in learning more about the major critical lenses and frameworks that have shaped the discipline. We will begin with the classical origins of literary criticism on language and form and move on to cultural theories of gender and sexuality, race, nationhood, and environmental justice. Recommended for students planning on taking Senior Project in their senior year and for those planning on graduate study.

English 391: Advanced Poetry Writing, CRN 1655

Malachi Black, T 6:00-8:50pm

This advanced three-hour workshop will be chiefly invested in the generation and consideration of new work by class members, but these aims will be both complemented and informed by two related engagements:  (1) a small survey of both seminal and recently published collections (contest winners and press selections alike), and (2) weekly accompanying readings from poet-critic James Longenbach’s collection of inventive craft meditations, The Virtues of Poetry (Graywolf, 2013).  In addition to much reading, writing, and revision, this course will require that students deliver two in-depth presentations:  a critical introduction to one of the assigned poetry collections and an analytical introduction to an independently discovered literary journal.  A memorization will round out the abundance of our vivid lives in verse.  Each class meeting after the first will be split between seminar and workshop discussions.
Prerequisite: Engl 381 Intermediate Poetry 

English 392: Advanced Fiction Workshop, CRN 1945

April Wilder, W 6:00-8:50pm

In this Advanced Fiction Writing course, students will apply techniques explored in the prerequisite course, Intermediate Fiction, to the tasks of conceiving, structuring, and beginning work on a novel or novella. This class proceeds from the premise that major works of fiction are written not in fits and starts, per various popular (unrealistic) notions of writers, but depend upon continuity, making the time and space to write every day, whether inspired or not. To that end, students will be expected to log regular writing hours—with the aim of developing a sustainable, generative, and maximally efficient practice—and to think rigorously and deeply about both master works in the genre (Vonnegut, Greene, Nabokov, DeLillo, Highsmith) and the fiction under development by classmates. Classes will be split between workshops and seminar, including one in-depth student-led presentation of each novel.
Prerequisite: Engl 382 Intermediate Fiction Writing

English 393: Advanced Nonfiction Writing, CRN 2090

Bradley Melekian, W 2:30-5:20pm

In this Advanced Nonfiction Writing course, students will generate works of creative nonfiction, ranging from the memoir to the personal essay to nonfiction feature writing. We will build on the techniques explored in the prerequisite course, Intermediate Nonfiction, and investigate the genre of narrative nonfiction—that is, nonfiction subjects written with fictional techniques. We will approach this course with the understanding that good writing is the culmination of serious thinking, heartfelt conviction, diligent work and a commitment to rewriting, reshaping, rethinking. Our understanding will further be that learning to write seriously, originally and creatively—which must be the goal of every student enrolled in this course—is an instruction in process. To that end, students will read landmark works of nonfiction from writers like Baldwin, Didion, McPhee, Mailer, Capote, Wolfe, Talese, Dillard and others to explore the ways in which the genre has developed and changed, and to consider how the best nonfiction writing goes beyond factual reporting to access truths about the human experience. Students will be expected to generate original writing each week, to read and critique the work of their classmates, to read and discuss exemplary works of the genre, to workshop (read aloud) their work and to consider the artful pairing of factual experience with creative writing. Instructor approval is required for this course.
Prerequisite: Engl 383 Intermediate Nonfiction Writing


English 494-01: Digital Humanities, CRN 1217

Paul Evans, T/R 4:00-5:20pm

70 years ago, Vannevar Bush's article "As We May Think" laid out a sweeping vision for a future of technology-enabled research. Taking Bush's vision as its starting point, this course will combine hands-on, skills-based learning with reading, critical thinking, and writing about Digital Humanities. Digital Humanities is an exciting new field that uses computing technology as a way of investigating questions in the humanities, and that uses the humanities as a way of approaching questions about digital culture. Students will learn how to use tools that will be useful in all of their courses at USD (and beyond), including Zotero for bibliography and footnote management in conjunction with online resources like JSTOR and Project MUSE, and Evernote for organizing research. Moving beyond the traditional Word to PDF paradigm, students will work with new scholarly publishing platforms like Scalar. We will also take a critical look at Wikipedia -- who creates Wikipedia content and how it is created – and create some content of our own. Finally, we will explore advanced techniques like Topic Modeling and Stylometry. Students with any level of previous computer experience, including none, are welcome!

English 494-02 Alcalá Review, CRN 3129

Malachi Black

The Alcalá Review is one of USD’s burgeoning Digital Humanities initiatives and serves as USD’s premier publication venue for undergraduate creative work—in poetry, fiction, nonfiction, photography, and beyond—while maintaining an active editorial, events, and print production schedule.  This course, reserved for active members of the editorial staff of the The Alcalá Review, serves as a practicum in literary magazine editing, concentrating on the strategies, activities, and procedures associated with all facets of planning, managing, promoting, and publishing a literary periodical.

English 498: Southeast San Diego Tutoring Program, CRNs 1444, 1445, & 1446

Timothy Randell

This is a ten-week course/internship during which you will tutor children in a local elementary or middle school in basic reading, writing, and math (depending on your assigned teacher/class). You will work at the school to which you are assigned with a teacher who will structure your activities with the children. Each week you will write a short journal to reflect on your experiences concerning a specific element of the school, your pupils, and other experiences concerning lesson plans or the learning environment (see the attached journal assignment sheet for specific topics). You will turn in the journal assignments periodically throughout the semester (not once a week or all at once at the end of the semester) to ensure accurate, unhurried, and thoughtful reflection. Tutors may commit to 3, 6, or 9 hours of tutoring per week (for 1, 2, or 3 academic credits per semester, respectively), and the course may be taken more than once (as often as tutors wish) to accommodate academic needs and time schedules.
The course counts as academic credit in an English elective. Lower Division students register for English 298, and Upper Division students register for English 498.