Undergraduate Courses | Department of English

Undergraduate Courses | Department of English

1000-level

 

English 1109: Intensive Writing and Reading 
Instructor: Staff 
Provides intensive practice in integrating academic reading and writing.

English 1110.01: First-Year English Composition 
Instructor: Staff 
Practice in the fundamentals of expository writing, as illustrated in the student’s own writing and in the essays of professional writers. 
GE: Writing and Communication—Level 1

English 1110.02: First-Year English Composition 
Instructor: Staff 
Practice in the fundamentals of expository writing, as illustrated in the student’s own writing and in the essays of professional writers. Taught with an emphasis on literary texts. 
GE: Writing and Communication—Level 1

English 1110.03: First-Year English Composition—Selling More Than Just a Film: Movie Posters as Cultural Lenses
Instructor: Christiane Buuck 
We don’t often look at physical movie posters, but they merit a second glance. Their composition and visual details work together to sell a story to audiences. At the same time, these advertisements offer important insights into the society that creates them, including a culture’s views on race, class, gender, love, power, wealth, anxiety, age, war, globalization, childhood, life and death. In this course we will analyze movie posters for the messages they contain and for the ways in which these messages reflect, reveal, promote and/or challenge larger issues in their culture.
Guiding questions: How do I speak and write with confidence in a collegiate academic setting? How do I analyze texts and conduct nuanced research? How do I become an effective peer reviewer and how do I revise my own work? How do I find and use university resources such as the Writing Center and the library?
Text: David Rosenwasser and Jill Stephen, Writing Analytically, 7th edition.
Potential assignments: Essays, responses to readings, reflections and presentations.
GE: Writing and Communication—Level 1 
This is a co-curricular course. To be enrolled in this class, you must also be enrolled in 1193. English 1193 is a 1-credit course that is graded Satisfactory/Unsatisfactory. For this course, you will visit the Writing Center three times during the semester to work on major assignments for English 1110.03 and document these visits in post-conference memos.

2000-level

 

English 2201H: Selected Works of British Literature—Medieval through 1800 
Instructor: Leslie Lockett
This course introduces students to some of the major British literary texts written from the early Middle Ages through the late eighteenth century, including Beowulf, Chaucer’s Canterbury Tales, Marlowe’s Doctor Faustus, Milton’s Paradise Lost and Aphra Behn’s Oroonoko. Our approach to the literature will emphasize close reading, form and genre, and historical context. Students will develop their research skills by means of a researched essay or creative project. Other requirements include response papers and a final exam.
Texts: Broadview Anthology of English Literature, Concise Edition, Volume A; other materials posted on Carmen 
Assignments: Response papers, final research paper or creative project, reading quizzes, final exam 
GE: Literature 
GE: Diversity (Global Studies)

English 2202: Selected Works of British Literature—1800 to Present 
Instructor: Jacob Risinger 
At a moment in which borders are closed and travel is suspended, sign on for a great grand tour of British literature from the French Revolution to the Brexit referendum. Over the semester, we’ll take stock of two centuries worth of tumultuous change, paying particular attention to the way in which a diverse set of writers transformed literary forms and conventions in an attempt to accommodate the ever-evolving world around them. In this course, we’ll read and discuss writers like Jane Austen, John Keats, Charles Dickens, Virginia Woolf, Sam Selvon, Philip Larkin and Zadie Smith as they attempt to make sense of industrialization, urbanization, shifting conceptions of gender, the collapse of an empire, a sequence of brutal wars, environmental devastation, wide-scale immigration and Britain’s changing relation to the rest of the world. We’ll also have occasion to think about how literature can alert us to new accounts of human psychology, changing structures of belief and even a ghost or two along the way. 
In its pandemic mode, this course will consist of lively prerecorded lectures that you can watch on your own schedule, as well as weekly recitation sections for engaged discussion. Optional socially-distanced or online events will be scheduled to work against the impersonality of a large, online class. English 2202 is a foundational course for English majors as well as a rewarding experience for anyone curious about literature and history.  
GE: Literature 
GE: Diversity (Global Studies)

English 2202H: Selected Works of British Literature: 1800 to Present 
Instructor: Antony Shuttleworth 
This course examines the work of selected British authors from the Romantic period to the present. During this period Britain gained, and lost, a position of huge influence in the world, as rapid and far-reaching industrial and technological change transformed human life and people’s sense of how it should be lived, creating a cultural and intellectual legacy which still informs current ideas and debates. A central concern will be the way in which texts offer literary responses to these changing historical and cultural conditions, influencing notions of personal experience, class, gender and power. We will examine concepts of Romanticism, Victorianism and Modernism, and students will be instructed in techniques of close textual analysis and discussion. In addition to developing writing and critical thinking abilities, the course will provide understanding of the continuing importance and power of works from this period among its readers and beyond.
Texts: Wolfson and Manning (Eds.), Masters of British Literature, Volume B (Longman); Jane Austen, Pride and Prejudice (Penguin); Ian McEwan, Atonement (Anchor)
GE: Literature 
GE: Diversity (Global Studies)

English 2220 (10): Introduction to Shakespeare
Instructors
Section 10: Jennifer Higginbotham 
Study of selected plays designed to give an understanding of drama as theatrical art and as an interpretation of fundamental human experience. 
GE: Literature 
GE: Diversity (Global Studies)

English 2220 (20): Introduction to Shakespeare
Instructor: Christopher Highley
This course introduces students to Shakespeare through the careful study of seven plays chosen from different genres and phases of his career. Even as we read carefully and pay attention to Shakespeare’s language, we will discuss the nature of the the Early Modern theater as well as the political, social and cultural conditions that helped to shape Shakespeare’s imagination.
Guiding questions: How do we read a Shakespeare play? What are the major themes and questions his plays explore? How are the plays related to the time in which they were written?
Texts: Taming of the Shrew; Twelfth Night; Measure for Measure; Hamlet; Macbeth; Anthony and Cleopatra; The Tempest.
Assignments: Two in-class midterms with IDs and essay; final research paper; online quizzes.

English 2220 (40): Introduction to Shakespeare
Instructor: Luke Wilson
In this introduction to Shakespeare, we will read five or six plays representing some of Shakespeare’s range, including some of the most canonical and some that are less well known.  Our focus will be on close analysis of the texts themselves, but we’ll also pay attention to the social and political milieu in which the plays were composed and first performed.  Possible plays include: The Merry Wives of WindsorAs You Like ItThe Merchant of VeniceKing LearAntony and CleopatraCoriolanusPericlesTwo Noble Kinsmen, and The Winter’s Tale.  
Guiding Questions: What’s so great about Shakespeare? Why all the fuss? What does Shakespeare mean for us today? What was it like attending a play in Shakespeare’s time?
Texts: The Norton Shakespeare, ed. Greenblatt, third edition, in two volumes (Early Plays and Later Plays).
Assignments: One or two formal essays; frequent short response papers; a performance-related group project; a critical articles review; and (conditions permitting) an exam.

English 2220 (50): Introduction to Shakespeare 
Instructor: Hannibal Hamlin 
For four centuries now, William Shakespeare has been widely regarded as the greatest writer in the English language. He’s certainly the most influential. More has been written about Shakespeare than any other writer in the history of the world, no joke. His plays have been adapted into countless other plays, novels, poems, music, paintings, films, TV shows and comics, and not only in English but in German, Russian, Spanish, Japanese, Hindi and Yoruba. We will read a sampling of Shakespeare’s plays in a variety of genres and over the course of his career. We’ll think about how his plays work as theater; how he adapts and transforms the source material on which so many of his plays depend; how Shakespeare can be such an “original” when he borrows so much from other writers; how he can create such deep and realistic characters; and how it is that Shakespeare can accomplish all of the above (and more) through language. What we’ll discover is that, as one critic put it, “the remarkable thing about Shakespeare is that he is really very good—in spite of all the people who say he is very good.” 
Texts: We will read five plays, including some familiar ones (Twelfth Night and Macbeth) and some unfamiliar (King John and Pericles), as well as his blockbuster Hamlet and some non-dramatic poems. 
Assignments: Assignments will include a close reading, a critical essay, a midterm test and a final exam. 
Guiding Questions: We’ll think about the nature of drama and dramatic genres, but the plays themselves address love, gender and sexuality; political power and legitimacy; family dysfunctions and inherited guilt; crime and punishment; and the problems and possibilities of human happiness. 
GE: Literature 
GE: Diversity (Global Studies) 

English 2220H: Introduction to Shakespeare 
Instructor: Christopher Highley 
This course introduces students to Shakespeare through the careful study of seven plays chosen from different genres and phases of his career. Even as we read Shakespeare’s language carefully, we will discuss the nature of the the Early Modern theater as well as the political, social and cultural conditions that helped to shape his imagination. 
Guiding questions: How should we approach Shakespeare? Why study his plays? What do they offer readers and viewers?
Texts: Taming of the Shrew; Twelfth Night; Measure for Measure; Hamlet; Macbeth; Anthony and Cleopatra; The Tempest.
Assignments: Short essays; midterms; quizzes; in-class reports.
GE: Literature 
GE: Diversity (Global Studies) 

English 2260 (20): Introduction to Poetry 
Instructor: Leslie Lockett 
This course introduces students to strategies for understanding and enjoying poetry in English, from Old English elegies through Lin-Manuel Miranda’s lyrics to the musical Hamilton. We will learn about the sounds of poetry in the ear and the shapes of poetry on the page; we will discuss social and political uses of poetry; and we will delve into the techniques by which poets imbue their words with multiple layers of meaning. 
Texts: Shira Wolosky, The Art of Poetry; poems posted on Carmen; access to the film Hamilton 
Guiding Questions: What is poetry supposed to do? How can we describe what we observe in poetry in a way that transcends individual taste? 
GE: Literature 

English 2260 (30): Introduction to Poetry 
Instructor: Jacob Risinger 
   “Then she opened up a book of poems 
   And handed it to me 
   Written by an Italian poet 
   From the thirteenth century 
   And every one of them words rang true 
   And glowed like burnin’ coal 
   Pourin’ off of every page 
   Like it was written in my soul.” 
   — Bob Dylan, “Tangled Up In Blue” 
How can poems written hundreds of years ago still resonate with our experiences of love, grief, anxiety, ecstasy and apprehension? This course will serve as an introduction and grand tour of classic and contemporary British and American poetry. It will also be a course where we think about how poetry intersects with ordinary human life. Over the course of the semester, we will consider the major themes, forms, contexts and innovations that have shaped the evolution of poetry. How has love poetry changed over the four centuries that separate Shakespeare from Seamus Heaney? What can poems by Elizabeth Bishop, Rita Dove and Danez Smith tell us about our changing conception childhood? What (if anything) does poetry have to do with politics? 
This is a hybrid course. Our Tuesday, we’ll meet in person; on Thursday, we’ll hold a synchronous online session via Zoom. We will read a great deal of poetry, from Shakespeare to current US Poet Laureate Joy Harjo. No prior familiarity with poetry is necessary!  
GE: Literature 

English 2260 (40): Introduction to Poetry 
Instructor: Abigail Greff 
Designed to help students understand and appreciate poetry through an intensive study of a representative group of poems. 
GE: Literature 

English 2260H: Introduction to Poetry 
Instructor: Zoë Brigley Thompson 
Designed to help students understand and appreciate poetry through an intensive study of a representative group of poems. 
GE: Literature 

English 2261: Introduction to Fiction
Instructors
Section 10: Katelyn Hartke 
Section 30: Preeti Singh 
GE: Literature

English 2261 (20 and 90): Introduction to Fiction
Instructor: Koritha Mitchell  
This introduction to fiction course will focus on authors from the United States who have a variety of backgrounds. That is, not every writer studied will be white. Likely authors include Frances E.W. Harper, Zora Neale Hurston, Jhumpa Lahiri, Nathaniel Hawthorne, Edgar Allen Poe, and Kate Chopin. The selected works will help us examine elements of fiction, such as point of view, setting, character, theme, tone, style and diction. Expect examinations that include being given a passage and needing to identify the author, the work, and other distinguishing features discussed in class.
GE: Literature

English 2261 (70): Introduction to Fiction 
Instructor: Jessica Prinz
English 2261 will be taught this semester as an introduction to twentieth-century fiction. We will discuss the elements of fiction (plot, narrative, progression, imagery, symbolism, theme, setting, tone, point of view and more), as we read broadly in the genre of the short story and the novel.
This class is not officially a “D” (diversity) course, but I will teach it that way. The interest in diversity is especially prevalent in literature and art of the contemporary period (1945 to the present). But I argue here that diversity has always been a subject for Twentieth-Century authors. Such “canonical” works (those texts deemed to be part of the “great” tradition) have always treated the theme of diversity. Thus, such writers like Hemingway, Faulkner, Chopin and Fitzgerald (modern writers), Morrison and Ellison (contemporary writers) all address the diverse nature of life in the twentieth century and beyond. This semester we’ll see some of the following: ethnic diversity (African American, Native American, and Jewish); literature about disabilities (like blindness, depression or alcoholism); the insane and the temporarily insane; the victims of racism, prejudice and violence. Many works also consider traditionally denigrated groups, like women, African Americans, and homosexuals. The conclusion here is that such diversity in literature (as in life) calls for a good deal of tolerance and compassion, and it exercises our capacity for empathy and understanding.
Course Requirements: Attendance, participation n discussions, two exams (midterm and final, and at least two short essays (5 pages each).

English 2261 (80): Introduction to Fiction
Instructor: Kelsey Mason
When was the last time you heard the term “dystopia?” Was it doomscrolling and seeing an offhanded tweet about how, “We’re living in a dystopia”? Or having a conversation about online learning and a friend says, “Proctorio is totally dystopian”? What has this term come to mean when used more colloquially? How about “utopia?” Do we mostly hear “utopia” when it’s applied to unrealistic fantasies?
In this class, we’ll start with contemporary applications of the terms “dystopia” and “utopia.” What do these terms mean in their modern usage in political and social events? We’ll survey twentieth and twenty-first century dystopian texts and break down their component parts: character development, narrative structures, themes, authorship and historical context. Then, we will jump back and look at nineteenth-century utopian and dystopian literature, these genres’ origins, and ways that authors articulated visions of the future and critiques of their present.
Together, we’ll complicate “utopia” and “dystopia,” and address ways in which they are not just literary genres, but also influence nineteenth-century lifestyles and sociopolitical theories. Novels and short stories will be from diverse global contexts, and students will be encouraged as part of our course discussions and assignments to address texts according to their interests.
This is an online course with a variety of ways to participate. Materials will be available via Carmen. Synchronous classes will be held via Zoom and recorded for asynchronous participation.
GE: Literature

English 2261 (100): Introduction to Fiction 
Instructor: Thomas Davis 
Alternative facts, fake news, the return of authoritarian politics, a global pandemic, ecological breakdown, a reckoning with the historical and contemporary realities of racial injustice: our current political climate feels unique and without precedent. And yet it spurred enough interest in Orwell’s classic dystopian novel 1984 that the publisher reported a 9500% increase in sales since the 2016 presidential inauguration, leading some outlets like Amazon to sell out completely. Journalists and commentators continue returning to it in 2020 to make sense of contemporary politics. Why would a novel published in 1948 appear relevant today? Is the renewed popularity of political fiction a sign of its explanatory power? Does it speak to a broader mood of political paranoia? And how might contemporary fiction engage with urgent political issues? This class will start with 1984 to tease out how fiction engages in political thinking and examine the ways political interests have employed fiction and the arts to achieve their ends. We will examine 1984 in its post-WWII historical context and track how it has been used over the last 60 years. We will then turn our attention to a range of genres and forms that political fiction has taken over the last 40 or so years, including utopic fiction, speculative fiction, magical realism, the gothic and a pandemic novel that should strongly resonate with our current predicament. 
Texts: Readings include Ursula K. Le Guin’s The Dispossessed, Octavia Butler’s The Parable of the Sower, Ling Ma’s Severance and Jesmyn Ward’s National Book Award-winning Sing, Unburied, Sing
Assignments: Students will write a few short papers, engage in synchronous discussions once a week, and have significant latitude on the shape of their final project. 
GE: Literature

English 2262: Introduction to Drama 
Instructor: Sarah Neville 
Dramatic works combine the storytelling art of narrative and the lyrical art of poetry with live performance in front of a group of viewers. Because drama involves both elements of social ritual as well as public entertainment, this art form serves to build communities by uniting, inciting, and/or inspiring audiences in interpretive critical activity. This class will explore selected dramatic works from Ancient Greece to the present day, considering plays’ political and social import as well as their effects on a modern-day audience. Students will attend a live Zoom play as part of their work for the course and learn the art of reading – and writing – a performance review. Evaluation will include short writing assignments and a final take-home exam.  
Texts: Norton Anthology of Drama, Shorter 3rd Ed. Angels in AmericaOedipus the King; A Raisin in the Sun; The Cherry Orchard; Snow in Midsummer; Trifles; The America Play; Waiting for Godot; Everyman; The Good Woman of Setzuan 
GE: Literature 

English 2263: Introduction to Film 
Instructor: Jared Gardner 
This course offers an introduction to the language and aesthetics of cinema, familiarizing students with the basic building blocks of film, the forms that movies use to tell stories, move viewers emotionally, communicate complex ideas, and dramatize social conflicts. It also introduces students to significant developments in film history and ways of approaching film interpretation. Throughout the term, we will focus on detailed analysis of films, analyzing closely the ways in which the multiple elements of moviemaking come together to make, and complicate, meaning.Introduction to methods of reading film texts by analyzing cinema as technique, as system, and as cultural product. We will learn how to take films and put them back together so as to better understand the choices made—in terms of lighting, music, sound, composition, acting, cinematography, editing and more—and their effects these choices have on our experience and understanding of the final film. Finally, we will take the set of tools and terms we have developed throughout the course and put it to work in learning how to share our insights about movies through writing. Along the way we will watch and discuss some amazing films by directors such as Agnes Varda, Spike Lee, Francis Ford Coppola, Akira Kurosawa, Orson Welles, and more.
Assignments: The class will have roughly 7 quizzes, a final exam, and 2 short writing projects.
GE: VPA 

English 2264: Introduction to Popular Culture Studies
Instructors
Section 10: Robert Barry 
Section 20: Frank DiPiero 
Introduction to the analysis of popular culture texts. 
GE: Cultures and Ideas. 
This is a combined section class. Cross-listed in CompStd. 

English 2265 (10): Introductory Fiction Writing
Instructors 
Section 10: Mohan Fitzgerald 
Section 30: Morgan Fox 
Section 40: Adam Luhta 
An introduction to the fundamentals of technique, craft and composition; practice in the writing of fiction; and analysis and discussion of student work as well as published stories by masters of the genre. 

English 2265 (50): Introductory Fiction Writing 
Instructor: Katie Pyontek 
This introductory fiction workshop will cover the fundamentals of craft and composition. We will read and study published short stories, write our own short stories, and offer feedback and support to each other on drafts shared in workshop. Prompts and writing exercises will be provided. No prior workshop experience is necessary. Readings will include stories by beloved writers such as Jhumpa Lahiri, Laura van den Berg, Xuan Juliana Wang, Toni Cade Bambara, Garth Greenwell, Grace Paley and others.

English 2266 (10): Introductory Poetry Writing 
Instructor: Maya McOmie 
In this introduction to poetry course, we will explore various elements of poetic craft and the ways poets convey meaning and expression through craft elements such as meter, rhyme, form, repetition, syntax variation, musicality of the line, lineation, white space, metaphor, image, etc. Throughout the semester, we will discuss the following questions: What is the purpose of poetry? How is a poem built? What elements enhance or subvert a poem’s essence? How do we recognize various elements within a poem? What is being conveyed, and in what way? By the end of the semester, students will have a firm grasp on the fundamental elements of reading, interpreting and creating poetry as well as how to respond and provide constructive criticism to their peers. 

English 2266 (20): Introductory Poetry Writing 
Instructor: Neomi Chao 
An introduction to the fundamentals of technique, craft, composition and prosody; practice in the writing of poetry; and analysis and discussion of student work as well as published poems by established poets.

English 2267: Introduction to Creative Writing 
Instructor: Daniel Barnum-Swett 
An introduction to the writing of fiction, poetry and creative nonfiction. Analysis and discussion of student work, with reference to the general methods and scope of all three genres.

English 2268: Introductory Creative Nonfiction Writing 
Instructor: Elizabeth Lawson 
An introduction to the fundamentals of technique, craft and composition; practice in the writing of creative nonfiction; and analysis and discussion of student work as well as published essays by masters of the many forms of creative nonfiction. 

English 2269 (10): Digital Media Composing
Instructor: Elizabeth Miller 
A composition course in which students analyze and compose digital media texts while studying complex forms and practices of textual production. 
GE: VPA 

English 2269 (40): Digital Media Composing—Audionarratology
Instructor: D’Arcee Charington Neal
If you’re a fan of Audible, Serial or NPR, then you already know that they all come from soap operas, and historic radio shows of the past, like H.G. Wells’ War of the Worlds, produced in 1938. However, audio stories died down as New Media (television, computers and the Internet) took over, replacing our past times with new entertainment. But with the rise of smartphones, fanfiction and computer technology more powerful than ever before, they’re coming back in a big way. Part podcast and part creative writing, audionarratology has been secretly growing for the past 10 years in the underground world of digital audio, and for good reason. More immersive than a traditional book, with the portability and ease of digital music, it allows listeners the freedom to get lost in worlds that they can hear, while giving composers a whole new way of expressing themselves. In this specific section of 2269, through digital media production, it’s part creative writing, part audio producer. You’ll learn about the basics of building an audionarrative: creating a good story (while learning other ways to tell one), and how to produce and find high quality audio clips. Later, you’ll learn how to combine that knowledge with the three foundational tools of rhetoric, and in a series of structured workshops, craft and showcase your stories for your peers and your own digital portfolio.
Assignments: Creative digital work with a short final assignment paper. We will be using Adobe Audition to produce all work (available through Ohio State and the Creative Suite).
Guiding Questions:  How can audio create unique ways of telling a story? How do the foundational ideas of rhetoric work in digital composition?
GE: VPA 

English 2270: Introduction to Folklore 
Instructor: Sarah Craycraft 
Folklore theory and methods explored through engagement with primary sources: folktale, legend, jokes, folksong, festival, belief, art. Folklore Minor course. 
GE: Cultures and Ideas. 
This is a combined section class. Cross-listed in CompStd. 

English 2270H: Introduction to Folklore 
Instructor: Merrill Kaplan 
Folklore is the culture that people make for themselves. Not all of us are specialists, but all of us tell stories and cultivate communities. This class explores everyday expressive forms including stories, customs, objects and digital forms shared in informal contexts. We will consider various interpretive approaches to these examples of folklore and folklife, and we will investigate the history of folklore studies. Recurring central issues will include the dynamics of tradition, the nature of creativity and artistic expression, and the construction of group identities. Folklore theory and methods will be explored through readings and an independent collecting project in which students will gather folklore from the wild, document it and interpret it for meaning.
Guiding questions: How do people express themselves in traditional forms? How are social concerns articulated in stories, jokes, memes and other genres? How does human creativity burble up in everyday life?
Texts: Lynn McNeill, Folklore Rules.
Assignments: Discussion forum posts, short analytical papers and an original collection of examples of folklore.
GE: Cultures and Ideas. 
This is a combined section class. Cross-listed in CompStd. 

English 2276: Arts of Persuasion 
Instructor: James Fredal 
This class will introduce students to the art of persuasion through rhetorical history, theory and criticism. We’ll examine two important periods in rhetoric—ancient Greek and modern American—through a selection of classic primary and secondary sources. From these works we will develop a set of rhetorical terms and concepts, and we’ll practice using these terms and concepts to think about how people are persuaded and how they should be persuaded, about the relationships between knowledge and opinion, reality and appearance, ethics and ideals, politics, aesthetics and action, and we’ll use these same concepts to analyze a wide range of texts to better understand how they work. Class periods will be divided between lecture, class discussion and occasional group work. You’ll also have several opportunities to present our work in spoken and written form to the rest of the class.
Guiding questions: How do people persuade? 
Texts: A few works on rhetorical theory, from Plato and Aristotle to Kenneth Burke and Judith Butler, and a few persuasive texts, from ancient legal speeches to Ida B. Wells’ anti-lynching campaign, war protest songs and recent internet memes.
Assignments: We’ll have several short informal response papers and a few more formal unit papers, but no exams or quizzes.
GE: Cultures and Ideas 

English 2277: Introduction to Disability Studies 
Instructor: Kelsey Mason 
Foundational concepts and issues in disability studies; introduction to the sociopolitical models of disability. 
GE: Cultures and Ideas

English 2280: The English Bible 
Instructor: James Fredal 
In this class, we will read the Bible as a work of literature, which is to say, as a secular rather than a sacred text. We will explore the Bible through various methods of literary and historical criticism and ask questions about its authorship, its cultural context, its relationship to other ancient literatures, its composition process, its many literary genres and styles, its history and development, its rhetorical purposes and goals, and of course, its meaning. By taking this class you should 1) become familiar with the Bible narrative, its times, places and scenes, and with its structure, its central themes and characters 2) gain experience identifying and interpreting the different genres and literary and rhetorical forms and styles that make up the books of the Bible, 3) understand some of the processes of Biblical composition, transmission, canon formation, redaction and translation, as well as some of the reasons for and consequences of these processes, and 4) practice some basic types of Biblical criticism and analysis so that you can continue to read, question and learn from Biblical study into the future.
Texts: The NRSV Bible.
Assignments: We’ll have several quizzes, a midterm exam and a final exam.
Guiding Questions: What does the Bible say and how can I interpret it?
GE: Literature 

English 2282: Introduction to Queer Studies 
Instructors: Jian Chen, Katherine Ritter
This course explores queer cultural and political practices that attempt to reimagine and transform sexual, gender, racial and colonial social orders in the US. It tracks diverging moments of self-defined queer emergence by the late 1960s through their adaptation and expansion in response to changing state, social and historical conditions in the late twentieth century and early twenty-first century. As a derogatory term turned back against those using it, queer has been claimed as a perversely “negative” descriptive that rejects common-sense heterosexual (and sometimes gender) conventions, while creating different ways of desiring, relating and being in the world. The term continues to be used in various ways as a coalitional term bringing together lesbian, gay, bisexual and sometimes also transgender identities and communities and as a term that resists efforts to define and assimilate non-heterosexual sexual (and sometimes gender) practices based on dominant “normal” standards. Rather than treating transgender identities as new appearances, we will situate transgender practices as part of the past, present and future of queer-ness. The course will engage with the histories and experiences of indigenous communities and communities of color and the analysis of race and racism, settler colonialism, and empire as vital to understanding sexuality and gender in the US.
Texts: Literature, film and scholarship by Audre Lorde, Gloria Anzaldúa, Daniel Heath Justice, Bushra Rehman, Michael Bronski, Tee Franklin, Jenni Livingston, Craig Womack
Assignments: Weekly discussion comments, short written exercises, exploratory final project
Guiding Questions: How have lesbian, gay, bisexual, transgender, queer (LGBTQ) social identities and desires developed historically over time? How have LGBTQ people defined themselves and mobilized around their concerns culturally and politically? What is “queer” about LGBT identities and practices?
GE: Cultures and Ideas 
GE: Diversity: Social Diversity in the U.S. 
This is a combined section class. Cross-listed in Women’s, Gender and Sexuality Studies 

English 2290: Colonial and US Literature to 1865 
Instructor: Elizabeth Hewitt 
In this course, we will consider the relationship between literature and nationalism: how is literature used to establish national identity? What happens when the laws and practices of the nation contradict the stories told about it? What happens to national stories when citizens disagree? Can people who are not afforded citizenship help write national myths? We will approach these and other questions by reading work from before the United States was a nation until its division during the Civil War. We will explore how essayists, politicians, novelists and poets addressed a broad array of historical, cultural and literary concerns, including settlement, revolution, slavery, diversity, religion, equality and others. 
Potential Texts: Authors we will read include: Anne Bradstreet, Benjamin Franklin, Olaudah Equiano, Ralph Waldo Emerson, Henry David Thoreau, Edgar Allan Poe, Herman Melville, Frederick Douglass, Emily Dickinson and numerous others. 
GE: Literature 

English 2367.01: Language, Identity and Culture in the U.S. Experience 
Instructor: Staff 
Extends and refines expository writing and analytical reading skills, emphasizing recognition of intertextuality and reflection on compositional strategies on topics pertaining to education and pop culture in America. 
GE: Writing and Communication (Level Two) 
GE: Diversity (Social Diversity in the U.S.) 

English 2367.01 (150): Language, Identity and Culture in the U.S. Experience 
Instructor: Scott DeWitt 
English 2367.01, Language, Culture and Identity in the U.S. Experience, is an intermediate composition course that extends and refines skills in critical reading and expository writing through analysis of written texts, video and documentaries. This section of English 2367.01 will take up the study of documentary work and storytelling and its intersection with personal narrative, the complicated process of identifying, gathering, interpreting and telling nonfiction stories. Our class will begin with a study of documentary as a text form, an art form and as a genre. We will study mostly documentary film and sound, but we’ll also explore a variety of creative nonfiction forms. We will look at the relationship among the subject, the audience and the composer while trying to better understand the concept of “craft.” Our work will focus on rhetorical analysis, the “how” and “why” of documentary work in relationship to content. This is a writing class, so we will produce print texts as well as digital media texts. This course is structured mostly as a studio class where we will be working together in one of the English department’s digital media classrooms. I will teach you a number of digital media technologies, and you will be able to create your work in the spaces these technologies afford you.
Materials: You will not be asked to purchase a textbook for this class. You will have access to cameras, audio recorders and computers from The Digital Media Project. We will talk about media storage options on the first day of class.
Assignments: You will produce print texts (academic essays) as well as digital media texts.
GE: Writing and Communication (Level Two) 
GE: Diversity (Social Diversity in the U.S.) 

English 2367.02: Literature in the U.S. Experience 
Instructor: Staff 
Discussion and practice of the conventions, practices and expectations of scholarly reading of literature and expository writing on issues relating to diversity within the U.S. experience. 
GE: Writing and Communication (Level Two) 
GE: Diversity (Social Diversity in the U.S.) 
GE: Literature 

English 2367.03: Documentary in the U.S. Experience 
Instructor: Sean O’Sullivan 
It’s often argued that we’re currently living in a moment of documentary resurgence–visible through the profusion of films on streaming platforms, and a revived interest in how we tell cinematic stories about the world around us. This course provides an overview of defining practices and questions of documentary filmmaking and the documentary “spirit” in non-cinematic media. We will consider the indexical (the representation of reality), the structural and the narrative—and issues of character and representation in non-fiction cinema. Our primary materials will include some foundational films of the documentary tradition, along with more recent examples and experiments in non-fiction and quasi-non-fiction cinema, and podcasts. Throughout, we will consider style and form, exploring the relevance of aesthetics (image, composition, sound, voice) to documentary. Materials may include Grizzly Man, Cameraperson, Serial (podcast), Stories We Tell, The Thin Blue Line, Senna, United 93 and Gimme Shelter.
Potential Texts: Patricia Aufderheide, Documentary Film: A Very Short Introduction. Additional readings will be posted on Carmen.
Potential Assignments: Short analytical responses, quizzes, essays. Creative work will definitely be an option.
GE: Writing and Communication (Level Two) 

English 2367.06: Composing Disability in the U.S. 
Instructor: Melissa Guadron 
Extends and refines expository writing and analytical reading skills, emphasizing recognition of intertextuality and reflection on compositional strategies on topics pertaining to education and pop culture in America.  
GE: Writing and Communication (Level Two) 
GE: Diversity (Social Diversity in the U.S.) 

English 2367.08: The U.S. Experience: Writing About Video Games 
Instructor: Staff 
Emphasizes persuasive and researched writing, revision and composing in various forms and media. Focusing on digital literacy, development of critical thinking skills and skill in producing analytical prose, students explore key conversations in the field of game studies and analyze a variety of types of video game writing. No prior knowledge of video games or game studies is required. 
GE: Writing and Communication (Level Two) 

English 2463: Introduction to Video Games Analysis
Instructor: Joshua Zirl
An introduction to humanities-based methods of analyzing and interpreting video games in terms of form, genre, style and theory. No background in video game play is necessary.
GE: VPA

3000-level

 

English 3271 (10 and 30): Structures of the English Language 
Instructor: Clarissa Surek-Clark 
Students learn basic characteristics of English linguistics focusing on the basic building blocks of language: the sounds of English and how they are put together, word formation processes, and rules for combining words into utterances/sentences. Students investigate and explore linguistic variation, accents of American English and the implications of language evaluation in educational settings. 
GE: Cultures and Ideas 

English 3271 (20): Structures of the English Language
Instructor: Lauren Squires
This class is an introduction to the linguistic structure of the English language: its systems of sounds, words and sentences, and how these systems differ across dialects, contexts and periods in history. We first will work to acquire the analytical tools needed to scientifically analyze any language, and apply these to the structure of English. We will then move to understanding patterns of English in its conversational and social contexts, exploring how English is used in interaction, how its dialects and styles vary across individuals and groups, how the language we now think of as “English” came to be and what its future holds.
Texts: Anne Curzan and Michael Adams, How English Works (3rd edition)

English 3273: Modernist Thought and Culture, 1880-1945 
Instructors: Brian McHale and Stephen Kern 
This course explores what is arguably the most creative period in the entirety of Western cultural history, roughly 1890-1930, which witnessed a spectrum of revolutionary developments in physics, philosophy, psychiatry, visual art, architecture, music, dance, cinema and literature. This dynamic period also ironically straddles one of the most destructive wars in history, World War I (1914-1918). The team-teaching format ensures that students will be exposed to a dialogue of different disciplinary methods and approaches between a cultural historian (Stephen Kern) and a literary scholar (Brian McHale). 
The pillars of the course are three of the period’s major thinkers: Friedrich Nietzsche, Sigmund Freud and Jean-Paul Sartre. In the first weeks we will approach imperialism through Joseph Conrad’s Heart of Darkness. In the middle weeks we will read, view or listen to avant-gardists such as the Surrealists, Franz Kafka, Pablo Picasso, Gertrude Stein, Igor Stravinsky and Arnold Schoenberg. The final weeks will address the effects of the Great War dramatized in Virginia Woolf’s novel Mrs. Dalloway, W.B. Yeats’s short lyric “The Second Coming,” and T.S. Eliot’s long poem “The Waste Land,” which address the hunger for wholeness and repair in postwar European society, shell shock, the practice of psychiatry, new gender roles and feminism, colonization and empire, the Armenian massacre, the influenza pandemic of 1918 and the growing secularization of high culture. 
Texts: Books: Friedrich Nietzsche, Thus Spoke Zarathustra; Joseph Conrad, Heart of Darkness; Gertrude Stein, Tender Buttons; Franz Kafka, Metamorphosis; and Virginia Woolf, Mrs. Dalloway. Short readings and selections on Carmen: William Butler Yeats, selected poems; Sigmund Freud, Introductory Lectures on Psychoanalysis (selections); T.S. Eliot, “The Waste Land”; Jean-Paul Sartre, Being and Nothingness (selections); and Jorge-Luis Borges, “Tlon, Uqbar, Orbis Tertius.” Films available from Secured Media Library: Luis Bu’uel and Salvador Dali, An Andalusian Dog
Potential assignments: Students will write four papers of four pages (1200 words) each on assigned topics based on the readings, lectures and class discussions. 
This is a combined section class. Cross-listed in History 

English 3304: Business Writing 
Instructors 
Section 10: Rebecca Hudgins 
Section 20: Amelia Lawson 
Section 30: Evan Van Tassell 
Section 40: Addison Koneval 
The study of principles and practices of business and professional writing. 

English 3305: Technical Writing 
Instructors 
Section 10: Jason Collins 
Section 20: Daniel Seward 
Study of principles and practices of technical writing. Emphasis on the style, organization and conventions of technical and research reports, proposals, memoranda, professional correspondence, etc. 

English 3331: Thinking Theoretically 
Instructor: Ethan Knapp 
This class will teach you to think about thinking. We will take a step back from what usually happens in classes about literature (and art) and ask some of the big questions about why people study these things in the first place. Why is literature a good thing? How is the experience of art important and what does it have to teach us that is different from the experience of the real world? How are different kinds of art (literature, music, film) like each other and how do they present different worlds and different possibilities? Readings will include a wide selection of thinkers, from Plato and Aristotle to Mary Wollstonecraft and William Blake. The course should be very exciting for anyone interested in the connections between literature and philosophy–or anyone interested in honing their abilities in critical thinking. 
Assignments: This course will have a midterm, final exam and final paper. 

English 3361: Narrative Medicine 
Instructor: Joey Ferraro 
Illness generates stories. Whether from patients, caregivers or loved ones, stories of illness are everywhere, informing our sense of what it means to suffer, to adjust to altered and disabled bodies, to respond to a global pandemic and to seek comfort and relief. In this class we’ll explore, through close examinations of novels, essays, films and other media, the many ways illness narratives intervene in our shared and individual conceptions of illness. We’ll investigate how narrative can allow us to better understand complicated topics such as how metaphors of mental health can combat or contribute to well-being; who “owns” a story of illness; and how storytelling can influence our recognition of the political dimensions of various health disparities. Further, by drawing on our different personal and academic experiences, we’ll explore how improving our narrative competencies, or the different ways we respond to and create narratives, can inform our medical competencies, or the ways we give and receive health care. 
Texts: Nemesis by Philip Roth; The Cancer Journals by Audre Lorde; Hereditary by Ari Aster 
Assignments: Critical analyses, response papers, persona narratives 
GE: Literature 

English 3372 (20): Special Topics in Science Fiction and/or Fantasy—Feminism in Science Fiction 
Instructor: Elizabeth Hewitt 
Since Mary Shelley birthed Frankenstein’s monster, science fiction has been devoted to issues that are crucial to the history of feminism: alterity and equity. The imagination of other worlds, other places, other species, other laws has the unique ability to make the familiarities of sexism strange. In this class, we will read some of the canonical texts of science fiction focused on issues involving sexuality, gender, reproduction and corporeality, including Mary Shelley, Ursula LeGuin, Margaret Atwood, James Tiptree, Jr., Samuel Delany, Judith Merril and Octavia Butler. 
Texts: We will read numerous short stories and some novels (by Shelley, Butler and Atwood). We will also read the comic Bitch Planet.  
GE: Literature 

English 3372 (30): Special Topics in Science Fiction and/or Fantasy—Environmental Science Fiction 
Instructor: Thomas Davis 
Science fiction and fantasy often take us to places with weird environments, including future Earths, bizarre dreamscapes and other planets. In recent years, sci-fi and fantasy have begun addressing the crises of climate change, mass extinction, global pandemics and the uncertain prospects for human life on an altered planet. This class examines the ways environmental sci-fi/fantasy literature and film narrates these changes and what they mean for human and nonhuman futures. Students will read and view a diverse set of sci-fi/fantasy fiction, ranging from intergalactic epics, Afrofuturism, weird fiction, outbreak narratives and the recent subgenre cli-fi. Students will also get a chance to build their own environmental sci-fi/fantasy worlds. 
Texts: H.G. Wells, The Time Machine; Ursula K. Le Guin, The Dispossessed; Octavia Butler’s The Parable of the Sower; Jeff VanderMeer, Borne; Alex DiFrancesco, All City; The Girl With All The Gifts. Our class will also be visited by Alex DiFrancesco. 
Assignments: Requirements include short papers; synchronous discussion once a week; and a final project. 
GE: Literature 

English 3372 (40): Special Topics in Science Fiction and/or Fantasy—How Magic Works 
Instructor: David Brewer 
The most fundamental mark of fantasy is that it features stories in which magic works. The magic may be front and center (Harry Potter) or kept largely in the background (Game of Thrones); it may be an instrument of strong good or evil or merely a morally neutral tool. But regardless of the form it takes, in the vast majority of fantasy, magic is real, which means that to the extent that we buy into these stories and the worlds in which they’re set, we are temporarily accepting the existence of magic (or at least suspending our disbelief in its existence). This course will investigate how that process works, and what it might be able to tell us about the workings of literature more generally. We’ll also consider how fantasy’s open embrace of magic has contributed to its (traditionally low, but recently rising) cultural status. 
Texts: J. K. Rowling, Harry Potter and the Prisoner of Azkaban; Rachel Aaron, The Spirit Thief; Benedict Jacka, Veiled; Brandon Sanderson, Mistborn: The Final Empire; Leigh Bardugo, Six of Crows; Ursula Le Guin, A Wizard of Earthsea; John Bellairs, The Face in the Frost; and Susanna Clarke, Jonathan Strange and Mr. Norrell 
Assignments: A weekly reading and viewing journal; a recommendation, in the form of a slide show, of a magic system that we are not reading or watching together, posted to Carmen for your colleagues’ consideration; a short response to one of your colleagues’ recommendations; a short essay connecting one of the magic systems we’re exploring to the other tools of world-building employed in that narrative; active participation in our discussions; and a significant contribution to a group project in which you collectively devise a new magic system and explain how it would help construct a fictional world. 
GE: Literature 

English 3372 (60): Special Topics in Science Fiction and/or Fantasy 
Instructor: Jesse Schotter 
This class will survey some of the most important children’s fantasy novelists of the 20th century, from E. Nesbit, C.S. Lewis and J.R.R. Tolkien up through Lloyd Alexander, Ursula K. LeGuin, J.K. Rowling, Diana Wynne Jones and N.K. Jemisin. We will examine how these two genres—fantasy and children’s lit—grew up together, and we will explore the varying influences on these writers, from myth and folklore to Christianity, Taoism and Existentialism to feminism and critical race theory.
Texts: E. Nesbit, Five Children and It; J.R.R. Tolkien, The Hobbit; C.S. Lewis, The Lion, the Witch and the Wardrobe; N.K. Jemisin, “Stone Hunger”; Lloyd Alexander, Taran Wanderer; Susan Cooper, The Dark is Rising; Ursula K. Le Guin, A Wizard of Earthsea; Diana Wynne Jones, Howl’s Moving Castle; Philip Pullman, The Golden Compass; J.K. Rowling, Harry Potter and the Sorcerer’s Stone; Nnedi Okorafor, Akata Witch.
Assignments: Course requirements include a paper, two responses, a final exam, viewing video lectures, active participation in online discussions and reading all discussion threads. 
GE: Literature 

English 3379 (10): Methods for the Study of Writing, Rhetoric and Literacy 
Instructor: Jonathan Buehl 
In English 3379, you will learn about writing, rhetoric and literacy studies by studying what researchers in these subfields of English Studies study and do. You will learn how to write effective research-based arguments in these subfields by practicing methods of data collection and analysis, developing research questions, working with genres of research writing and revising your writing for clarity and purpose. You will understand how to transfer what you learn to new contexts—both other courses in the English major and contexts outside the university. 
Guiding questions: What is Rhetoric? What is Writing Studies? What is Literacy? How do researchers study and write about Writing, Rhetoric and Literacy?
Texts: Course materials were developed through an Affordable Learning Exchange grant. All materials are available at no cost to students.
Assignments: Short research exercises and discussion prompts that build to a longer paper.

English 3379 (20): Methods for the Study of Writing, Rhetoric and Literacy 
Instructor: Susan Lang 
This course will introduce students to a continuum of research methods used by scholars in such fields as writing, rhetoric, literacy studies, composition studies and technical communication. We will focus primarily on empirical research methods. You will learn techniques of these various methods and apply them to a series of activities throughout the semester. During the last month, we will shift focus to writing research in writing, rhetoric and literacy studies.  In addition to active class participation, students will complete three unit projects (one each in writing studies, rhetoric and literacy) and a final project. By the end of this course, students will: identify and understand common empirical research methods used by scholars in such fields as writing, rhetoric, literacy studies, composition studies and technical communications; learn techniques of these various methods and apply them to a series of activities throughout the semester; and gain practice in writing common research genres (conference abstracts, peer reviews, research proposals) to writing, rhetoric and literacy studies.  

English 3398 (20): Methods for the Study of Literature 
Instructor: Jill Galvan 
This course is designed to strengthen skills in interpretive reading and writing. It will help students with English major courses and with analyzing texts generally, both within and beyond the classroom. Our focus will be on reading with an eye for fine detail and constructing logical, well-evidenced arguments. The syllabus will cover several major genres ranging from the traditional to the recent or popular—novel, short story, poetry, drama, film, memoir and podcast. Our readings will range from the classic to the contemporary. A very tentative, partial author list includes Robert Louis Stevenson, Charlotte Perkins Gilman, Kate Chopin, J.D. Salinger, Octavia Butler, Ted Chiang, Justin Torres, Carmen Machado and Trevor Noah. In class meetings, I will be providing guidance and a critical framework, but most meetings will be run as active discussions. Tentative assignments: two exercises, three to five pages each; three papers, five to seven pages each; regular reading quizzes; and engaged class participation.  

English 3398 (30): Methods for the Study of Literature 
Instructor: Jessica Prinz 
The purpose of this course is to read broadly in the history of American and British literature with the goal of improving reading and writing skills. All key genres of literature will be considered (fiction, drama and poetry). We will devote a significant portion of the class to the various theories used to analyze literature (“critical theory”). This will be a writing-intensive course.
Text: A Little Literature, eds. Barnet, Burto and Cain (or a comparable anthology). Other texts may be assigned later. 

English 3398 (60): Methods for the Study of Literature 
Instructor: Christopher Jones 
This section of English 3398 combines exercises in analytical reading with formal and informal writing assignments. Emphasis throughout is on the acquisition and strengthening of skills required in many upper-division English courses. These skills include (a) the ability to objectify and articulate what we, as readers, bring to interpretation of a text; (b) the ability to “close read” for patterns and argue from them; (c) the ability to identify the conventions of various textual forms (genres) and the different kinds of theoretical engagement they invite; and (d) the ability to conduct and effectively incorporate research into the historical backgrounds, reception or influence of authors and texts. 
Texts: Octavia Butler, Parable of the Sower; Jhumpa Lahiri, selected stories; E.M. Forster, Howard’s End 
Assignments: 4 critical essays (including 1 required revision/resubmission), occasional quizzes, regular discussion participation 

English 3405: Special Topics in Professional Communication—Writing (about) Science 
Instructor: Jonathan Buehl 
This course will prepare students to approach professional writing tasks that engage scientific discourses, such as accommodating science for non-specialists and editing technical scientific prose. Knowledge of or proficiency in science is not required. 
Students will complete assignments in which they (1) edit technical prose, (2) accommodate science for different audiences, (3) develop metaphors and analogies, (4) create explanatory visuals, and (5) analyze technical and popular science publications. These projects might include editorial responses to technical documents, science policy memos, magazine-style pieces and museum materials. 

English 3465 (10): Special Topics in Intermediate Fiction Writing 
Instructor: Macey Phillips 
Eudora Welty says, “In fiction,  while  we do not necessarily write about ourselves, we write out of ourselves, using ourselves.” In this course, students will learn how to write complex, complicated and honest characters. We will examine authorial voice and character-building in a variety of shorts stories, flash fiction pieces, and novel excerpts from a diverse group of authors. By the end of the semester, students will produce and workshop 1-2 substantial pieces of writing. This is a hybrid class and will have both in-person and online components.

English 3465 (30): Special Topics in Intermediate Fiction Writing 
Instructor: Mark Ramsay 
For students who have experience with the basic elements of writing fiction. Special topics focus on particular aspects of the genre; advanced techniques are explored. 

English 3466: Special Topics in Intermediate Poetry Writing 
Instructor: Kamal Kimball 
For students who have experience with the basic elements of writing poetry. Special topics focus on particular aspects of the genre; advanced techniques are explored. 

English 3467S: Issues and Methods in Tutoring Writing 
Instructor: Yanar Hashlamon 
English/CSTW 3467s is an interdisciplinary course on the issues, methods and history of tutoring writing. As a class, we’ll consider questions about why and how writers engage in collaborative writing support. Who is imagined as a writing tutor? Who is imagined as needing writing tutoring? What ways of thinking and writing have been prioritized in writing center studies and to what end? These questions cut to the core of Writing Centers’ role in both upholding and challenging certain institutional norms in university education along lines of race, class, disability, gender, sexuality and citizenship.
The class includes virtual observations of writing tutoring at the Ohio State Writing Center and options for weekly synchronous and asynchronous discussions of critical texts from writing center studies. The course will engage with writing tutoring as both theory and practice, preparing students to work in the Writing Center itself, or to work in broader contexts of writing education such as classroom teaching and community literacy programs. This class is a prerequisite for any undergraduate student to apply for a tutoring position at the university Writing Center, though many students take the class to learn more about the practices and politics of writing education in and beyond the classroom.
Cross-listed in ArtsSci 

English 3468: Special Topics in Intermediate Creative Nonfiction Writing 
Instructor: Louise Edwards 
This class will explore the personal essay and its relationship to narrative, research, lyric/poetry, visual art, music etc.  The readings will emphasize diverse voices, especially people of color, the LGBTQ community, women and those with an intersection of marginalized identities.  We’ll also, of course, spend much of the class workshopping your own writing. For students who have experience with the basic elements of writing creative nonfiction. Special topics focus on particular aspects of the genre; advanced techniques are explored. The class will be taught synchronously online via Zoom. 

English 3662: An Introduction to Literary Publishing 
Instructors 
Section 10: Alyssa Froehling 
Section 20: Zoe Mays 
An introduction to the theory and practice of editing and publishing literature. 

4000-level

 

English 4150: Cultures of Professional Writing 
Instructors 
Section 40: Daniel Seward 
Section 50: Jennifer Patton 
Examine writing in various workplaces. Analyze writing discourse that shapes professional organizations. Explore ongoing technological and cultural shifts required of workplace writers and the role of digital media.

English 4150 (30): Cultures of Professional Writing 
Instructor: Christiane Buuck 
This class will explore a range of types of workplace writing. Many of our course assignments are designed to help you compile a writing portfolio that will be useful if you apply to the Professional Writing Minor, and/or in future job searches. Additionally, you will interview two professionals in your field of interest. You will hone your editing skills by practicing AP style, reviewing common usage mistakes and how to avoid them, giving and receiving feedback in peer review, practicing repurposing content and drafting for different audiences and revising for clean, professional copy in every deliverable. Throughout the term, you will work individually and collaboratively to explore a professional writing field of your choice, culminating in an engaging group presentation and panel discussion.
Assignments: Professional writing portfolio assignments, editing exercises and presentations
Guiding Questions: What do want to do when you graduate? What does professionalism and professional writing look like in different fields?

English 4189: Professional Writing Minor Capstone Internship 
Instructors 
Section 10: Jennifer Patton 
Section 20: Lindsay Martin 
Students work onsite in an organization doing writing-related work and meet weekly to discuss related topics. 

English 4520.01: Shakespeare 
Instructor: Sarah Neville 
This class will approach a selection of Shakespeare’s plays through several methods, examining them not only as historical artifacts rooted in the time and place of their creation, but also as spectacles created to be continuously performed and re-adapted right through to our modern age. In order to better enable us to consider the ways that staged properties, blocking, special effects and audience engagement are crucial parts of Shakespeare’s stagecraft, this section of 4520.01 is especially interested in the practical means by which Shakespeare’s plays resonate with both historical and contemporary audiences. Through exercises, assignments and class discussions in costuming, casting, producing and directing, we will seek to answer questions like: “How was the English stage of 1592 different from a typical American stage of 2020”; “How does a production create the suspension of disbelief when the audience is in the same light as the actors?”; “When you don’t have modern technologies, how do you create special effects?”; and “What did Elizabethans think a Roman or medieval battle looked like?” Students in this class will develop the capacity for discriminating judgment based on aesthetic and historical appreciation of Shakespeare through reading, discussion and informed critical written interpretation of the texts. Through this process students will also learn to appraise and evaluate both the social values of Shakespeare’s cultural moment as well as their own. Students will be evaluated by short writing assignments, a virtual group presentation and midterm/final exams. 
Texts: New Oxford Shakespeare (Ed. Taylor, Jowett, Bourus, Egan, 2016) 

English 4523: Special Topics in Renaissance Literature and Culture—John Donne and Ben Jonson 
Instructor: Luke Wilson 
This course focuses on two turn of the century poets whose importance and influence are second only to that of their contemporary William Shakespeare. John Donne is the one who wrote: “No man is an island entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less…And therefore never send to know for whom the bell tolls; it tolls for thee.” But he’s also the one who wrote a poem comparing the sex act to a flea sucking blood, and, in an age that considered suicide a mortal sin, he wrote a learned defense of suicide. Ben Jonson, for his part, begins his scurrilous, fast-paced play, The Alchemist, with the line “Thy worst!  I fart at thee!”; and it’s all downhill from there. Both wrote in an unusually wide range of verse modes and genres, but their literary output extended far beyond poetry, and in this course we’ll read plays and prose texts as well. Jonson was enormously self-promoting, and masterminded one of the most important literary publications of early modern England, his Workes of 1616. In contrast, few of Donne’s poems were published before his death, but they did circulate widely in manuscript among a literary cognoscenti among whom he was hugely popular. Both attracted eager followings, were deeply responsive to the politics of the time and were sometime Catholics navigating a deeply Protestant culture.  
Assignments: Requirements will include class participation, frequent short response papers, a short essay and a longer, research-oriented final essay. 

English 4533: The Early British Novel—Origins to 1830 
Instructor: Sandra MacPherson 
Features the variety of novel forms emerging from 1660 to 1830, as well as relevant historical and contemporary theories of the novel, marketplace, reading or interpretation.  

English 4559: Introduction to Narrative and Narrative Theory 
Instructor: Amy Shuman 
Stories give shape to our everyday life experiences. We tell stories about ourselves, about others, about trivial interactions that fade from memory and about life changing events. In this course we explore who tells stories to whom and in what contexts and how they tell them. We’ll examine narrative form, genre, performance, repertoire and interaction. For the final project, students will work with narratives of their choice, whether from print, web-sources, interviews or daily life, and will describe those narratives in terms of one or more of the narrative dimensions discussed in class. 
Assignments: Seven comments on the readings throughout the course of the semester; midterm take-home exam; final project 

English 4564.02: Major Author in 18th- and 19th-Century British Literature—Bleak Houses: Dickens, Satire, Modern Gothic  
Instructor: Jill Galvan 
This course will center around one masterpiece novel by Charles Dickens, Bleak House (serialized 1852-53). Our discussions will involve three main aims: (1) to close-read a celebrated nineteenth-century work; (2) to think about literary genres as instruments of social critique—then and now; and (3) to consider how studying the literary/cultural past helps us to think about the present. Bleak House is a work of satire: it uses humor to make biting observations about contemporary society. At the same time (as the title hints), it borrows from the Gothic, also for social criticism. Ominous secrets and settings help Dickens to comment on Victorian problems, including urban poverty, inadequate legal systems, and constraining gender norms. Ultimately we’ll turn to a few related texts: Hannah Crafts’ The Bondwoman’s Narrative, a nineteenth-century American slave narrative that draws on Bleak House; and recent films containing some form of the Gothic and/or satire (TBA; some possibilities: It Follows (2014), Mudbound (2017), Get Out (2017), Sorry to Bother You (2018), and Parasite (2019)). Through this juxtaposition, we’ll ask how socially critical fictions change over time, and how they deploy genre in different ways. What new objects of cultural horror do modern Gothic stories unearth? How does satire today differ from nineteenth-century satire, reflecting new priorities, values, injustices, etc.? Tentative requirements: engaged participation; frequent reading quizzes; five or six short analytical response papers (one to two pages each); and one longer term paper (five to seven pages).

English 4565: Advanced Fiction Writing
Instructor: Lee Martin 
This is an advanced writing workshop that asks you to think about how short stories are made with a special emphasis on the art of characterization. Stories show us something about the complexity of human existence by concentrating on characters and their conflicting wants, needs, fears, hopes, etc. I don’t mean to suggest that these types of stories are without plots. Plenty happens, but what happens externally is less important than what happens internally to the characters involved and what it means for the rest of their lives. In other words, events occur because of the types of people characters are, and the plots that unfold always reveal something new about the inner lives of those characters. We might put it this way: characters create plots, and plots reveal characters. The stories that we’ll read will invite us to think more deeply about the technical choices writers make and the effects these choices have on the process of storytelling. Reading and analyzing from a writer’s perspective gives us a chance to think about how stories are made and also an opportunity to build our own technical repertoire when it comes to constructing narratives. 

English 4566: Advanced Poetry Writing 
Instructor: Kathy Fagan Grandinetti 
This is a workshop designed for poetry students who are either in the Creative Writing concentration or those who have made enough significant progress in previous undergraduate poetry workshops to audition for admission. The focus of this course is your poems. I will offer weekly prompts and sample texts for discussion. 
Guiding questions: What makes a poem memorable, and how do we talk about poetry to each other? 
Potential texts: Other texts TBA but will not exceed two books totaling $35.  
Assignments: Seven original poems minimum and some close readings of “model” poems 

English 4567S: Rhetoric and Community Service 
Instructor: Beverly J. Moss 
English 4567s, Rhetoric and Community Service, is an undergraduate service learning seminar that, through coursework and on-the-ground (virtual) experience, introduces you to the rhetorical expectations of non-profit organizations. All class meetings and community partner work will be delivered virtually in spring 2021.  Along with meeting virtually one day/week in class, you will be assigned to assist a community partner with the writing demands of the organization. Writing assignments will vary according to the needs of your community partner—requests may include (but certainly aren’t limited to) writing social media posts, composing website copy, creating brochures, writing donor letters, or assisting with grant writing.
You will examine how rhetoric (and writing) can affect (both positively and negatively) social change in local organizations, and will gain experience writing in the non-profit world. Community partners this spring range from education-based non-profits to a community non-profit focused on girls and women. Our main goals this semester are to make you a better rhetor through service to a nonprofit organization and to support the communication needs of the organization.
Guiding questions: What is the relationship between rhetoric, social action and community service? 
Assignments: Short papers; group presentations; writing for community partner 

English 4568: Advanced Workshop in Creative Nonfiction Writing 
Instructor: Michelle Herman 
The study and practice of literary nonfiction writing, including the many subgenres of this capacious form: the personal essay, memoir, portraiture, science writing, music writing, lyric essays, adventures in “fraudulent artifacts,” and many (many) other kinds of narratives.
Texts: All readings will be in the form of PDFs and links to exemplary essays. 
Assignments: Reading, short writing assignments, two complete essays, revisions. 

English 4569: Digital Media and English Studies 
Instructor: Scott DeWitt 
This course will take up the study of digital media and its relationship to messaging and storytelling. Students from across areas in the Department of English or in majors outside of English will work on a series of short-form digital projects using rich media (video, audio, data). The most significant part of this course focuses on the “P” word: production. This course is structured mostly as a studio class, where we will be working together in one of the Digital Media Project’s classroom. Some of you may have experience with the technologies we will compose with. For those of you new to these technologies, I will teach you more than you need to know to be successful in this class. Please do not let your lack of experience with technology intimidate you. This class can be used to fulfill the digital media requirement in the writing, rhetoric and literacy concentration for the English major. 
Materials: You will not be asked to purchase a textbook for this class. You will have access to cameras, audio recorders and computers from The Digital Media Project. You are also free to use your own technology. We will take about media storage options on the first day of class.
Assignments: Short-form media projects, creative opportunities

English 4572: English Grammar and Usage 
Instructor: Lauren Squires 
You will learn to describe and analyze the structure of English sentences. You will become familiar with the concepts and patterns of grammar from a linguistic—a scientific—perspective. We will seek to understand the linguistic principles that underlie all speaking and writing in English. Importantly, this is not a writing course, an editing course or a course designed to teach people how to speak/write in English. However, our enhanced understanding of how English grammar is structured will ultimately equip you with the skills to more critically understand speaking and writing styles, including effective writing and products designed to encourage it, such as usage handbooks and language-learning pedagogical materials. 

English 4574: History and Theories of Writing—From Clay Tablets to Twitter Bots 
Instructor: Christa Teston 
This class will explore how writing has evolved since premodern times to contemporary cultural practices. 
Assignments: Reading responses, midterm exam, discourse community ethnography project 

English 4575: Special Topics in Literary Forms and Themes—Protesting Injustices and the Novel of 1790s 
Instructor: Roxann Wheeler 
How and why did the eighteenth-century novel in English become a form associated with protest of the status quo and hospitable to giving voice to marginalized characters such as serving girls, rebellious slaves, and a variety of other persecuted figures? One answer lies in genre, the fact that unlike drama on the London stage, which was performed in front of a live and therefore potentially dangerous audience, the novel, a new consumer item of the eighteenth century, was considered private, and was not censored for its incendiary content. Another answer lies in the novel’s expansive form: it was able to give voice and compelling plot to characters who were usually unheard and uncared about because they were criminalized, uneducated or otherwise marginal to public life. 
We will study the novel in regard to form and content, authors and readership, in its critical engagement with eighteenth-century protest of profound social ills, which came to a head in the 1790s during the era of the French Revolution. The real social ills that were novelized include human trafficking and slavery (the 1780s were the height of the British slave trade in African people mainly to the Americas); unearned privileges of race and rank (about 150 families owned 20% percent of England and along with lesser landowners “legally” appropriated six million acres of land over the eighteenth century); unlawful incarceration of women and the laboring ranks; and sexual victimization of female servants. Not infrequently, these social ills were understood as connected to each other in this era. We will feature the sometimes surprising ways in which feminist, anti-racist, Marxist and other scholars have engaged with this literary history of radical writing and the politics of representation then and now. 
Potential texts: Aphra Behn, Oroonoko; or The Royal Slave (1688); Samuel Richardson, Pamela; or Virtue Rewarded (1740); William Godwin, Things as They Are; or The Adventures of Caleb Williams (1794); Mary Wollstonecraft, Maria; or The Wrongs of Woman (1798); Maria Edgeworth, Castle Rackrent (1800); William Earle, Obi; or The History of Three-Fingered Jack (1800); Anonymous, The Woman of Colour (1808) 

English 4577.01: Folklore and Human Rights—Cultural and Climate Sustainability, Disability and Refugees 
Instructor: Amy Shuman 
By working with local cultural groups with their particular environmental challenges, folklorists have engaged in questions about questions about how people both experience exclusion and how they have created resources for survival. Most of this folklore research is what is called participatory research, based on collaborations with community members. For this class, we will be reading documents (including films, websites, stories) produced by those communities. Students’ responsibilities include reading/viewing these documents, participating in class discussions, and collaborating on a project. 
Guiding questions: How do people work collectively in their communities in the face of human rights violations related to cultural sustainability, disability, immigrant status or other issues? 
Assignments: Students will identify examples of local community cultural practices related to human rights and post these to Carmen three times during the semester. Students will post comments on the readings every week and these will count as both the midterm and final exam. Students will work in groups to produce a collaborative project related to one of the central themes. 

English 4578 (20): Special Topics in Film—Film and American Society After World War II 
Instructor: Ryan Friedman 
This course examines the history of the American cinema in the years immediately following the Second World War, covering the period from 1945 to 1960. We will view and discuss significant Hollywood films from a variety of genres (e.g., comedy, musical, film noir, western, melodrama, social problem film), contextualizing them by reading articles and excerpts published in a variety of venues (e.g., popular magazines, film-trade publications, books of sociology and psychology) during the era in which these films were produced and exhibited. 
Films: The Best Years of Our Lives, Blackboard Jungle, Rebel Without a Cause, Invasion of the Body Snatchers, A Raisin in the Sun 
Assignments: Papers and an exam 

English 4578 (30): Special Topics in Film—Re-imagining the Half Hour: Contemporary Television Comedy 
Instructor: Sean O’Sullivan 
The televisual revolution of the first decade of the 21st century focused on shows like The Sopranos, The Wire, and Breaking Bad–sprawling serial empires that reshaped the default format of storytelling seriousness, the hour-long drama. But the last ten years have seen a shift of critical and viewer attention to the half-hour comedy, in terms of what kinds of stories are told, who gets to be in the stories, and who gets to tell the stories. This course will consider a range of series, from Fleabag to Insecure to Russian Doll, that have cracked open the ancient conventions of the sitcom, and of comic design more broadly, to think across the spectrum of narrative invention and representational inclusion. Throughout the semester, we will analyze how aesthetic and formal choices orient, and often disorient, our expectations of comedy as a televisual genre. One recurrent thread in our syllabus will be shows created by and starring women, actively bringing previously-marginalized voices, perspectives and bodies to the small screen. In addition to Fleabag, Insecure and Russian Doll, our roster may include Girls; Transparent; GLOW; Atlanta; Broad City; Barry; and What We Do in the Shadows
Texts: Articles, book chapters, and other materials related to contemporary television, narrative studies, and comedy.
Assignments: Analytic essays and creative work will both be on the agenda. Quizzes each class meeting. No exams.
Guiding Questions: What storytelling and aesthetic possibilities are available to makers of the contemporary half-hour television series? Which genres, audience expectations, performance styles, and connections to comedy’s past have been foregrounded? Where is television going as an art form in the 21st century?

English 4581: Special Topics in U.S. Ethnic Literatures—How Race Works: Legacies of Colonialism, Slavery and Empire 
Instructor: Pranav Jani 
In September 2020, US President Trump aimed to turn back the clock, arguing that Critical Race Theory, historians like Howard Zinn, and critiques of whiteness have led people to diminish Americans’ greatness. But Ethnic Studies and related fields, in explaining why racism and white supremacy have such a strong hold in US society, push in the opposite direction, building on past criticisms of racism to expand our understanding of it. 
How can we grasp the different but linked experiences and histories of Black, Native, Latinx, Asian, Arab peoples in the US? How do the legacies of settler colonialism in the Americas, the enslavement of Africans, and colonialism in Asia and elsewhere shape BIPOC lives in the US? How do gender, sexuality and the family interact with race? 
From novels, short stories, essays and films by and about different peoples of color in the US, we will examine how they/we have survived and struggled in racialized spaces that are very much products of US history. Part of this history, as we will see, is the effort to articulate these stories in the face of dominant forces that would rather ignore them. 
Guiding questions: How is race tied to history? How are people of color differently racialized? How can literature and culture show points of solidarity and difference? 
Texts: Texts include Gyasi, Homegoing; Nguyen, The Sympathizer; Aldama, Long Stories Cut Short; Shamsie, Burnt Shadows; Kincaid, A Small Place; and Jarrar, A Map of Home. Films include Reluctant Fundamentalist and Mississippi Masala
Potential assignments: Discussion posts; a short paper; annotated bibliography; research project 

English 4582: Special Topics in African American Literature—Race, Gender, Class: Studying Intersectionality 
Instructor: Pranav Jani 
In 1989, Kimberlé Crenshaw, a Black feminist and legal scholar, coined the term “intersectionality” to address the specific subordination of Black women in the law. Today, this concept, grounded in generations of Black knowledge and experience, has become so widely used and applied that its meaning can be confusing. 
In this class, we will study Crenshaw’s original use of intersectionality and her establishment of the #SayHerName movement to get a handle on the term. We will also examine African American writing from different eras, including novels, essays, a play and an autobiography, to see how they have portrayed the connections between race, gender and class, whether or not they used the word. We hope to achieve an understanding and appreciation of the concept, and its deep roots in Black thought. 
Guiding questions: What is intersectionality in its original meaning? How have Black literary texts linked race, gender and class in the past? What can literature and culture teach us about the present moment? 
Texts: Larsen, Passing; Hansberry, A Raisin in the Sun; Morrison, Sula; Combahee River Collective statement; Mock, Redefining Realness; Gyasi, Homegoing; essays by Crenshaw, Davis and Lorde. 
Assignments: Discussion posts; a short paper; annotated bibliography; research project 

English 4590.01H: Honors Seminar—Medieval Literature 
Instructor: Christopher Jones 
This course considers selected works of English literature written during the “medieval period” (c. 500-1450). Along with better-known texts such as Beowulf, Sir Gawain and the Green Knight, Everyman and selections from Chaucer, we will explore some less well-known sources, such as popular romances, religious exempla, folklore and law, that help contextualize and complicate our modern perceptions of the “English Middle Ages.” A running theme of our course will also be to examine the uses (and often misuses) of the European Middle Ages for modern aesthetic and political purposes. 
Guiding questions: What are the most recognizable features of medieval literature? How have modern perceptions of “medieval” culture shaped both academic study and popular representations of the Middle Ages? 
Assignments: Discussion-leading and discussion response (both in-person and online); occasional quizzes; and short response papers, plus two longer essays 

English 4590.05H: Honors Seminar—The Later 19th Century: Freedom and Literature in the 19th Century 
Instructor: Amanpal Garcha 
Is freedom possible in modern societies, even though such societies depend upon individuals performing routinized work, acting in politically predictable ways, and placing primary emphasis on money-making? Does nature provide a retreat from such modern pressures – or does it offer an irresponsible, possibly meaningless escape from our social responsibilities? Is family life a place where we find the comfort and emotional richness that is absent from capitalist society – or is it a space of stifling conformity? In this course, we will read nineteenth-century British works by such authors as Mary Shelley, Emily Bronte and Alfred Tennyson that address these questions along alongside examples of utopian and dystopian texts that more explicitly outline some characteristically Victorian ways of imagining freedom, social reform, and the difficulties inherent in industrial capitalism. 
Potential texts: Readings will include Frankenstein by Mary Shelley, Wuthering Heights by Emily Brontë, News from Nowhere by William Morris, A Crystal Age by W. H. Hudson and The Time Machine by H. G. Wells, as well as short works by John Stuart Mill, Elizabeth Barrett Browning and Charles Dickens. 

English 4591.01H: Special Topics in Creative Writing—”Blood, Sweat, Tears”: The Art and Craft of Horror 
Instructor: Nick White 
Writers, beware: There will be no happy endings in this class. Here, I expect you to learn an appreciation for the shocking art and bewitching craft that is horror. For those of you daring enough to face the abyss with me, I can teach you how to bedevil the minds and entangle the senses of your readers with the demonically-willed word. Stephen King has said that “we make up horrors to help us cope with real ones.” In that spirit, the kind of horror literature we will study and write in this workshop will not be interested cheap thrills and schlocky gore alone, but in plumbing the depths of what frightens us to better understand ourselves and each other. 
Potential texts: We will read some current and classic masters of the form, which might include Shirley Jackson’s The Haunting of Hill House, Stephen King’s Salem’s Lot, Victor LaValle’s The Ballad of Black Tom, Samanta Schweblin’s Fever Dream, Grady Hendrix’s The Southern Book Club’s Guide to Slaying Vampires, Silvia Moreno-Garcia’s Mexican Gothic, Stephen Graham Jones’ The Only Good Indians, Matt Ruff’s Lovecraft Country—and more. 
Potential assignments: Assignments will include short flash pieces from specific prompts (as modeled in the new anthology Tiny Nightmares), and one longer story (15 to 25 pages) to be workshopped by the class. 

English 4592 (10): Special Topics in Women in Literature and Culture: Women and the Black Atlantic 
Instructor: Roxann Wheeler
The literature and culture of the eighteenth-century Black Atlantic is now illuminated by visual, sound and historical archives available online; at once drawing from Africa, Britain, the Americas, especially the Caribbean, the paradigm-changing conceptual term of the Black Atlantic will anchor our reading of the cultures and literatures of slavery as they featured white, Black and brown women. This course will highlight British fiction and non-fiction about women and slavery, including slave narratives and journals of historical people living in slave-based colonies. We will study texts written by and about women in the Black Atlantic during the height of slavery and the trade in enslaved Africans. Our goal will be to use fiction and non-fiction to illuminate each other and to study the ways that women shaped and were shaped by slavery in England and the Caribbean slave colonies.
We will examine feminist issues, including the fraught politics of sisterhood across class and race difference, the long term criticism of patriarchy, property and capitalism, and the way the novel and poetry differently offered ways to dramatize historically pressing issues for women writers and characters concerned about slavery before liberalism and democracy.
Texts: Sarah Scott, Millenium Hall (1767); Douglas Hall, In Miserable Slavery [Thomas Thistlewood diaries] (1750-86)]; Abolitionist poetry selections (1780-1800); Lady Nugent’s Journal [of her residence in Jamaica 1801-05]; Amelia Opie, Adeline Mowbray; or the Mother and Daughter (1805); Anonymous, The Woman of Colour, A Tale (1808); Jane Austen, Mansfield Park (1814); Mary Prince, The History of Mary Prince (1831); Companion readings in feminist, critical race, and postcolonial literary theory.
Assignments: Likely two research papers and an exam.

English 4592 (20): Special Topics in Women in Literature and Culture
Instructor: Sandra MacPherson 
Using feminist perspectives, students will learn to analyze literature and other cultural works (film, television, digital media) written by or about women. Time period and topic vary. 

English 4595: Literature and Law—The Outsider in the Courtroom 
Instructor: Clare Simmons 
Literature and Law is a course in the representation of law in literature and literary analysis of legal discourse; it is not a course in the study of law, but should be of interest to anyone who wants to engage with the role of law in culture; the legal and literary representation of human rights; and how law uses language. Literature and Law can be applied towards the English major and Human Rights minor; many students from other departments also take it to fulfill upper-level course requirements, so the course provides an excellent opportunity to meet students from a wide variety of fields who are interested in law and perhaps thinking about law school. We will read both some legal materials and some literature that represents law in action. 
The special topic of this course is “The Outsider in the Courtroom,” so we will read some actual cases and also a variety of fictional representations of law in action, and consider how the rights of outsiders are protected, or sometimes forgotten, by the law. We will also practice some court-room procedures of our own in mock-trials.  
Guiding questions: How do we feel about the law?  How much does law depend on culture?  Is it applied equally to everyone? 
Potential texts: Readings will include a 2000-year-old murder trial; some medieval animal trials; Shakespeare’s The Merchant of Venice; the Amistad trial; Wilkie Collins’s novel The Law and the Lady; Reginald Rose’s Twelve Angry Men; and a collection of famous trials available online. 
Potential assignments: Students will be responsible for regular attendance and participation, including in group mock-trials; three short case briefs; a longer research paper; and reading questions.  

English 4597.01: The Disability Experience in the Contemporary World—Hidden Lives: Studies in Visible/Not Hidden v. Invisible/Hidden 
Instructor: Cathy Ryan 
This 4000-level course in Disability Studies fulfills both GE and Math and English Integrated Major requirement. The course incorporates introduction to key terms and campus-community partnerships, texts, research and critical analysis, journaling, multimodal learning, small group activities, discussion board and poster session.  
Content: Investigation into Hidden Lives (unseen disabilities, micro-aggressions, implicit bias, and unknown or marginalized voices) culminating in a community poster session (“Hidden Figures”), “Lives in the Balance” (fragility, (in)visibility, canceling, mental health and wellness), Campus Advocacy (e.g., SLDS, TOPS mentors/IDD), Community Art and Invention (including social theory, graphic medicine), Accessible Design (spaces and places), and Campus-Community Partnership. Students will have the opportunity to take part in an Ohio State University sensitivity training initiative (Campus Accessibility Ambassadors, SP/SU21).    
GE: Cross-Disciplinary Seminar 

5000-level

English 5189S: Ohio Field School 
Instructor: Cassie Patterson and Jasper Waugh-Quasebarth 
The Ohio Field School Course provides an introduction to ethnographic field methods (participant-observation, writing field notes, photographic documentation, audio-interviewing), archiving and the public exhibition of research for both undergraduates and graduate students. Students will contribute to a team-based, immersive research project designed to document the ways that diverse communities express and preserve a sense of place in the face of economic, environmental and cultural change. Research projects will be centered around the requests of partnering organizations. The semester-long, experientially-based course will consist of the following:

  • Introduction to fieldwork: A Zoom-accessible class on Tuesdays from 10 a.m. to noon (slightly shorter time than listed in the schedule). The class will involve both discussion of existing literature and reflection on our own practice.
  • Lab (approximately three hours per week) in the Folklore Archives with appropriate social distancing in place. During these hours student teams will be involved in preparatory research, remote fieldwork, accessioning and the preparation of a public-facing project, designed in consultation with community partners.

As becomes possible, we hope to offer voluntary opportunities to visit Southern Perry County and environs (hiking, participation in outdoor community events, self-guided road tours) and outdoor gatherings of our entire research group, but these plans are contingent upon public health recommendations and pandemic conditions in spring 2021.
Throughout the semester, students will practice all of the skills necessary to construct a permanent record of local expressive culture that will be accessible to future researchers and community members.
To enroll students must first attend an information session and apply for the course. Information sessions will be on October 28 at 10am and November 10 at 4pm via Zoom. To register for the info sessions and receive a zoom link, please follow this link.
*Cross-listed in CompStd.

English 5612: History of the Book in Modernity 
Instructor: David Brewer 
This course will explore books from the past two centuries as physical objects and consider what difference that makes for our understanding of the texts they bear and the uses to which they’ve been put. We will range widely in terms of genre, language and price point, drawing extensively on the holdings of The Ohio State University’s Rare Books and Manuscripts Library (in ways that are safe for the age of COVID). By the end of the course you’ll understand not only why judging books by their covers is impossible to avoid, but also why it’s actually a good thing: how it can help us make sense of the many ways in which books work in (and on) the world. And you’ll be able to share your newfound knowledge with the world by collectively acting as the curators for an online exhibition in which you select, research, arrange and showcase objects from our collections. 
Potential assignments: A weekly object journal; a few short, informal presentations of objects from Ohio State’s collections; a midterm scavenger hunt; active participation in discussions; and substantial contribution to a collectively curated online exhibit 

English 5664: Studies in Graphic Narrative—Comics Before the Comic Book, 1660-1930 
Instructor: Jared Gardner 
As a field, comics studies in the U.S. has devoted much of its energy to studying a relatively small body of work, most of it produced in the last 30 years with relatively little devoted to the long history of comics and cartooning before the rise of the comic book form in the late 1930s. One result of this is that the field has cut itself off from the insights that might be gained from this rich and understudied history before formats like the comic book and graphic novel were devised as solutions to historically specific challenges. This class will study the history of what was originally termed “caricature” until the middle of the 19th century when the newer terms “cartooning” and “comics” entered common usage. While the class will focus primarily on Anglophone texts, comics in the West was from the start an international form, involving much exchange and “borrowing.” We will begin with the development of popular caricature in Bologna in the late 17th century, before following the migration of the new art to England where it will shape the graphic narrative work of William Hogarth and other 18th-century artists, culminating in the rise in the 1830s and 40s of the first periodicals devoted to comics and cartooning. This new medium—the illustrated periodical of the 19th century—will ultimately give way to the rise of the newspaper comics supplement at century’s end, which will provide our final unit of focus. Along the way we will study changes in print history, including the tools and techniques of making and reproducing graphic images, as well as methods for engaging with both traditional and online archives dedicated to recovering and preserving this history. 

English 5722.01/02: Graduate Studies in Renaissance Poetry—John Milton’s Paradise Lost 
Instructor: Hannibal Hamlin 
John Milton’s epic prequel to the Bible, Paradise Lost, is one of the greatest works of literature in English. In the eighteenth and nineteenth centuries, if a person had three books on their shelf, one would be the King James Bible, and another Paradise Lost. It’s not an exaggeration to say that Milton invented Satan, at least as he’s been understood for the past several centuries. Romantic writers all wrote under Milton’s shadow, and his influence is obvious in Blake’s “Milton,” Wordsworth’s “The Prelude,” Mary Shelley’s Frankenstein, Keats’ “Hyperion” and Byron’s “Don Juan.” Percy Shelley wrote that “nothing can exceed the energy and magnificence of the character of Satan in Paradise Lost.” Malcolm X read Paradise Lost in prison, like Shelley sympathizing deeply with the rebel Satan. Charles Darwin took the poem with him on The Beagle. Paradise Lost is at the heart of Melville’s Moby Dick, Salman Rushdie’s Satanic Verses, Philip Pullman’s fantasy trilogy His Dark Materials and Toni Morrison’s A Mercy. It was the basis for Haydn’s oratorio The Creation, and has influenced songs by Nick Cave, Eminem, David Gilmour, Marilyn Manson and Mumford and Sons. Film pioneer Sergei Eisenstein called Paradise Lost a “first rate school in which to study montage and audio-visual relationships.” Twelve-year-old Helen Keller read Paradise Lost on a train ride, and she named the John Milton Society for the Blind after the poet, who was blind before he wrote his greatest poems. Popular versions of Paradise Lost shaped the liturgies of early Mormonism, and marathon readings of the poem have become a ritual at colleges and universities across the United States. 
Potential texts: Paradise Lost in any standard edition, as well as some shorter works by Milton and others, and a selection of critical essays available on Carmen 
Potential assignments: A close reading, a seminar presentation and a substantial critical essay 


Undergraduate Courses | Department of English

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