Undergraduate Courses, Fall 2000

Times and locations of class meetings are subject to change. Consult the UF Schedule of Courses for official class times and locations and an explanation of the class period abbreviations.

Lower Division (1000–2000) Special Content Courses

Note: Only course descriptions are listed below. For a comprehensive summary of course numbers, sections, times and locations, titles, and instructors, see the following web page:

AML 2410

1950s American Literature and Culture: Attitude and Visuality

Jeff Rice

This course will be taught in a computer lab.

1950s American culture and literature can serve as a model for the tropes of attitude and visuality so dominant within our current culture. The 1950s offer a rationale for how entertainment has been transformed in our culture from a way of satisfying desire and pleasure to a visual practice. In particular, the complexity of emotions and social conflict that emerge within the immediate decade following World War II create a new sense of American attitude. New media practices such as MTV, print advertising, and Hip-Hop owe, to a certain extent, their logic to attitudes about culture, race, gender, and music developed in the 1950s. The end result has created visual attitudes based on such terms as cool, funk, hip, gangsta, among many, all of which set the standards for current lifestyles in American culture. This course, to be taught in the Network Writing Environment (NWE), will examine a variety of texts and films from the 1950s that explore attitude as a visual practice, from Frank Sinatra’s lifestyle to the rebellion of the Beats, from Marlon Brando’s Johnny in The Wild Ones to Chester Himes’s gritty noir novel of murder in 1959 Harlem, The Real Cool Killers. Our purpose will be to see what we can learn from ’50s culture in order to construct a guide towards understanding contemporary applications of visuality. Since our work will be done in the NWE, we will be able to apply what we learn to current practices of visuality supported by the World Wide Web.

Tentative Texts:

Films:

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AML 2410

Contemporary Immigrant Literature of the United States

Sarika Chandra

This course will examine contemporary immigrant literature of the United States. We will briefly consider histories of immigration into the US as we pay attention to key government policies. As the US has relaxed its policies and offered incentives for its companies to go abroad in search of cheap labor and new markets, the government has become very restrictive in its immigration policies in the last decade. Much of the recent rhetoric that surrounds immigrant groups foregrounds issues of non-documentation, refugee status, and positions in the labor market. We will examine matters specific to different immigrant groups in the context of issues such as politics of race, gender and sexuality, labor market, and government policies.

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AML 2410

Contemporary U.S. Women of Color: (Re) rac-/class-/gender-/sex-ing identities

Nick Melczarek

AML 2410.1632 introduces students to issues of sex(uality), race/ethnicity, class, and (ac)culturation explored in fiction and criticism by contemporary “women of color” in the U.S. The course continually requires students to question and investigate constructions of subjecthood and objecthood for women, treating the U.S. itself as a multilayered episteme. Through combined readings of critical texts and novels, students are immersed in not only contemporary defining tropes for/of women, but also in critical methodology and praxis. Students are encouraged to challenge both their own knowledge and thinking, as well as their social environment, through experiment with literary and cultural critique.

We will organize our readings and writing around a few central tenets: Toni Morrison’s and bell hooks’ inquiries into the necessity of “blackness” for construction of “whiteness”; Mary Louise Pratt’s concept of the “contact zone”; Adrienne Rich’s and others’ conceptualization of “lesbian”; Gloria Anzaldúa’s vision of the mestiza. Each of these approaches (and others) will help us interrogate the construction of identity (for both observer and observed) as well as problematize what it means to be a citizen of the U.S. for women of color. AML 2410.1632 comprises copious reading of historical, critical, and literary material. Students are required to cover historical background to establish contexts; literary texts as reflections of and reactions to those contexts; and critical explorations/responses to aid students’ own cultural and literary critiques. Three papers, reading quizzes, and a project are required.

Literature:

Historical Groundwork:

Extra Fiction/Commentary:

Example Criticism:

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ENC 1145

Writing About Gender and Popular Culture

Sarah Mallonee

This course will be taught in a computer lab.

This course will examine gender as an identity category that is influenced by scientific theories and cultural stereotypes. We will also examine how these influences affect the representation of gender in popular culture mediums such as film, advertising, and print journalism. This class will introduce students to many facets of current writings in gender theory and will hone students’ analytical writing skills.

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ENC 1145

Writing About Technology, Race, and Culture

Lorraine Ouimet

This course will be taught in a computer lab.

This course will introduce students to discourses of cultural criticism, particularly in the context of race relations. Students will engage with existing scholarship on culture and cultural productions so as to develop an understanding of the role(s) cultural productions play in the shaping of American culture, American conceptions of race, and American race relations. Then through their own critical inquiries of music, films, advertising, and literary texts – with the goals of developing their own cultural theories – students will investigate the ways in which racial identities (predominantly, but not limited to, black and white) and ultimately race relations are shaped by such cultural phenomena. For example, as the visibility of black artists and black art forms (hip hop being the most obvious example) increases, and as the consumption of black culture reaches across race, class, and gender boundaries, it is interesting to consider the impact of such visibility on racial and cultural politics.

All writing assignments will be completed using computer technology, specifically the Web (html). The assignments will help students concurrently develop a relationship with the writing practices of the 21st cenutury and develop the strong critical thinking and writing skills acquired in more traditional writing courses.

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ENC 1145

Writing About Caribbean Literature

David Hart

We will read and write about Caribbean fiction and critical essays, exploring major issues in the Caribbean brought up by these texts – i.e., (post)colonial identity, culture, gender constructions, education, exile, diaspora, history, and comparisons to other cultures. These issues (and more) are open for discussion (and definition). In addition to the primary fiction authors, the Routledge Reader includes short fiction and non-fiction excerpts from C.L.R. James, Jean Rhys, Claude McKay, Merle Hodge, and numerous other Caribbean authors.

This is a Gordon Rule class; therefore, a significant part of this class will be dedicated to teaching writing as a response to fiction and critical essays. The tentative requirements for the class include four formal essays, reading quizzes, journal responses, and class attendance and participation. Each essay will be at least four full pages (double-spaced) and no more than six pages in length.

Primary Fiction and Critical Readers:

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ENC 1145

Writing About Countercultures

Christine Roth

This course will test current definitions of three major countercultural movements: the Gothics, the Pre-Raphaelites and Decadents (1849-1900), and the Beat Generation (1944-1960). We will look at the role of writers/artists within society, examine definitions of both the avant-garde and the countercultural, and explore the gender-theory and sexual politics in each period. Such a study will give perspective to all three movements as phases of broader global significance, as well as contextualize many of the cultural debates in today’s media.

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ENC 1145

Writing About the Rise and Fall of American Underground Comics

John Ronan

This class will be taught in a computer lab.

This special topics section will examine the material production and distribution history of American underground comics as well as the rhetorical dissemination and political critique inherent to this radical textual renaissance. After a few short introductory meetings on the particularities of the comics medium (verbal/visual interaction; sequentialism; page and panel; narrative; iconicity; argument, exposition, and style), we will examine the historical and social forces that, from the mid-1960s to the end of the 1970s, produced a series of comics now periodized as “the underground.” We will seek to find the aesthetic and material precursors of these texts, looking carefully at comics produced under the EC imprint as well as Mad magazine. The diverse countercultural movements and their relationship to, and deployment of, various underground comics will take up the majority of our time, with assigned papers devoted to close, critical readings of some of these underground comics and the political, social, and economic forces they are critiquing. Finally, we will explore the international legacy of American underground comics as well as the intense maturation and stylistic sophistication of the medium as a whole that this brief period of experimentation produced.

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ENC 1145

Writing About Writing

Dion Cautrell

This course will be taught in a computer lab.

This course is designed to help students develop critical reading, writing, and thinking skills; to explore various discourses – poetry, fiction, the essay, and (new) journalism, among others – as they act on all of us, shaping both ourselves and our world; and to become more self-reflexive in their reading and writing habits by allowing students to model, and eventually to create their own, ways of envisioning writing and the writing process.

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ENC 1145

Writing About Football

Kevin McCarthy

Do not call the professor at home. Please do not eat or drink in the classroom. Have breakfast before coming to class. ENC 1145 fulfills three hours of the General Education requirement in English Composition. This course presupposes no previous knowledge of football.

Required text: The Dark Side of the Game: My Life in the NFL by Tim Green (Warner Books, 1996). Available in the Campus Bookstore.

Purpose of the course: to think, learn, and write about football by reading literature and writing a series of varied assignments. We will discuss the history of the game in some detail, at both the college and professional levels, have appropriate guest lecturers, and see at least one video on the sport. We will have an etymology and rule quiz every class session.

Writing assignments: Because this is a Gordon Rule course, students will write a minimum of 6,000 graded words: four four-page essays plus two in-class essays, each 1,000 words long. Assignments will include different types of writing, for example, the Argumentative Essay (Should high schoolers be allowed/encouraged to jump to the NFL? Should there be a cap on rookie salaries?), the Comparative-Contrastive Essay (on two different football teams or positions or leagues or on the difference between football and another sport), a Descriptive Essay (on one player or team or league), and a Critique Essay about a football-related book to be read outside of class. Late papers will be penalized two points for each day late; a paper due on Thursday and handed in on Tuesday will lose ten points.

Grading:

Percentage of grading components:

Instructor: Kevin McCarthy Office: 4360 Turlington Hall
Office hours: T 5th-6th per., R 6th per. or by appointment.
Office phone: 392-5299, ext. 281

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ENC 1145

Writing About the “Real Florida” or This Ain’t No Disneyworld

Maria Martinez

Overview:

In this Special Topics course, we will be writing – extensively – to explore important historical moments and issues peculiar to Florida, especially specific immigration and social/linguistic patterns. We will be reading various texts, including fiction, essays and historical documents, to explore the idea of a “Real” Florida. We will pay particular attention to issues of racial, regional, and generational identity, including the idea of a Cracker Florida. This class will feature an exploration of Cuban Florida, that is, the role that Cubans have played in shaping Florida, both literal and literary. Indeed, before 1959, the long-standing, reciprocal and sometimes “obsessive” relationship between Florida and Cuba was so “natural” that Cuba was included in maps of Florida, and vice versa. These connections have remained constant, if contentious, despite our recent “estrangement.” This relationship is often described in the potent and charged terms of a failed love affair. Field trips to Ybor City, Eatonville, Cross Creek, etc., are planned. Finally, the course will also include a naturalist element, with readings from Stoneman Douglas and others and “field trips” to various local sites, including important paleolithic sites, springs and, of course, the Rawlings Estate.

Texts and Coursepack:

Objectives:

This class qualifies as a Gordon Rule writing class. You will be required to produce effective academic papers of increasing levels of complexity and employing a variety of rhetorical strategies. We will work to improve your ability to develop and support convincing, creative and structurally sound arguments. The writing process itself – pre-writing, organization and planning, paragraph development – will be attended to at length, as will matters of style and sound sentence structure. We will also learn research skills required for academic writing, including MLA documentation and computer-assisted research methods.

The course is designed to foster critical thinking conducive to independent and engaged thinking. We will be reading and writing about various texts and discussing our findings in class. In this manner, we will work to improve our ability to reason, to consider historical and socio-economic contexts, to read carefully and consider conflicting points of view. We will have to learn to listen carefully to one another, to question assumptions, to look for inconsistencies, to ask pertinent questions, modify assertions and formulate responses accordingly.

I intend to make this course as student-centered as possible, that is, I intend to make it relevant to you. Whenever possible, we draw materials, methods and ideas from your own reality, your own brainstorming sessions in class. I hope to find ways to frame your own knowledge in ways that are rewarded in college and to help you learn how to learn, so that we may become more active participants in the life-long process of educating ourselves.

Requirements:

Attendance and classroom decorum will affect your grade considerably. I look for continued improvement and a willingness to participate in classroom discussions.

Essays:

Specifically, you’ll be required to produce four formal analytical papers, including a final independent “research” paper with secondary sources. All essays include graded rough drafts and conferences.

Each paper includes graded pre-writing assignments – a topic proposal, outline and bibliography, plus a peer review. You are required to submit these materials in a folder along with the final draft. No essay will be accepted without the preliminary work. You may see me to discuss any paper as many times as you wish and may revise a paper more than once for an improved grade.

In this class, you may move beyond the traditional essay structure, provided you produce a relatively unified and coherent work in the “standard” style. While I encourage creative writing – especially the incorporation of storytelling and poetry – your ability to construct a reasonably linear argumentative paper may largely determine your success at University. You may employ some of the more progressive and non-linear modes we encounter in our readings, but please discuss your rationale with me first.

Panel Presentations:

This class features an interactive, student-centered curriculum in which the instructor acts as a facilitator to learning in a relatively self-governing classroom. Interactive learning provides lasting results, so you will be teaching one another in small units and presenting your findings to the class as a group. To that end, you are required to sign up for one panel presentation. You and your group will be responsible for teaching certain material to the class. These assignments require considerable group effort, organization and decision-making skills.

Quizzes, Exams and Miscellaneous Assignments:

Several assignments will require in-class writing exercises. We will also have at least two essay exams designed to help you begin thinking about possible paper topics. I’ll ask you to think critically about what you have read, analyzing the author’s position, finding similarities between texts, exploring differences, etc. I’ll ask you to look for patterns, find contradictions etc. Read actively and ask questions. We will discuss many of these texts in class, but you are primarily responsible for investigating and understanding the material. I may also make use of “pop quizzes” if I suspect the class has fallen behind on the reading.

Policy Statement:

Any form of cheating, including collusion, plagiarism (using another’s words, ideas, or data without documentation) or multiple submissions is a violation of the Honor Code and will result in an “E” in my class, plus disciplinary measures for academic dishonesty. If I suspect plagiarism, I will schedule a conference and will ask you to produce your notes before I take any disciplinary measures.

Attendance is absolutely mandatory in a class of this nature. Departmental policy requires that I drop you after three un-excused absences. A few absences because of illness or family emergencies are, of course, acceptable, but be sure to document them to my satisfaction. You must make up any work you miss. Even documented absences – if excessive or prolonged – can result in failure.

Tardiness, too, is bad form, and it is disruptive. If you arrive late, please enter and sit down as quietly as possible. Those who regularly arrive late should not be surprised to find that they have been marked “absent,” due to the time constraints of teaching a class of this nature.

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ENC 1145

Writing About Film and Modernism

Denise Cummings

This course will approach writing about the broad relationship between the cinema and the Modernist cultural movement by attempting to give a theoretical and historical overview of the term “Modernism” and by confronting whether or not the cinema is “inherently” Modernist. We will take into account certain major issues foregrounded in discussions of Modernism (and that surface in the arts of the time) including primitivism, mechanization, propaganda, nationalism, language, commodification, labor, etc. Under each topic, we will consider a film that relates to the subject – from King Kong (1933) to the Marx Brothers’ A Night at the Opera (1935) – as well as works from literature, painting, decorative arts, advertising, etc.

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ENG 2935

COLLEGE HONORS: Joyce and Cultural Studies

R. Brandon Kershner

Enrollment in this class is by invitation only.

The course will be an introduction both to James Joyce and to the broad field of cultural studies, using Joyce’s fiction as examples of literary texts with particularly rich cultural resonance – both representationally and as artifacts. We will read Dubliners, A Portrait of the Artist, and Ulysses in conjunction with a cultural studies reader. Our emphases will include the areas of:

Although the course will engage with theory, the stress will be upon specific implications of the literary texts rather than upon the theory in and for itself. As an aid in reading Ulysses, we will use Blamires’s guide to that novel entitled The New Bloomsday Book. I will bring in copies of newspapers and advertisements of the time as well as some examples of the popular reading to which Joyce alludes, show slides of Eugen Sandow the bodybuilder and memorial photography of children, and discuss other examples of material culture from turn-of-the-century Ireland. Since I am involved in the production of a hypertext Ulysses, we will discuss aspects of that project throughout the course, as it relates to issues raised by cultural studies.

Texts:

I will also be distributing a good deal of material as handouts during the course.

Requirements:

These four requirements will weigh roughly the same in determining 85% of your grade; an additional 15% will be determined by class participation.

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ENG 2935

COLLEGE HONORS: Power and Desire in Western Thought

Chris Snodgrass

Enrollment in this class is by invitation only.

What is the “politics” of desire and power? How do we go about getting what we desire? How is human desire formed? Do we really control our own desires? What is power? What conditions shape it? How does one get it? How does one lose it? How do desire and power actually function in personal relationships, in the larger cultural and political arena? These are some of the questions we’ll be investigating in this course this term.

Specifically, the course will focus on the dynamics of desire and power, as reflected in a broad spectrum of Western literary, philosophical, and pictorial works (novels, poetry, essays, paintings, film, and commercial advertisements) – e.g., Freud’s Civilization and Its Discontents, Marx’s Philosophic Manuscripts, Orwell’s Animal Farm, Nietzsche’s Beyond Good and Evil, Foucault’s The History of Sexuality, Frears’s Dangerous Liaisons, 19th- and 20th-century “love poetry,” Ewen’s Captains of Consciousness,Berger’s Ways of Seeing, and a variety of paintings and magazine advertisements.

Using the various texts and other learning opportunities provided in the course, you will (1) study and try to understand the technical interrelationships between the structure and meaning of various kinds of texts, and thus the varied and complex ways by which human “themes” and reactions emerge – in short, what texts mean and how they come to mean what they mean; (2) apply the principles presented in these works in various group “laboratory” or “game” situations. Using the “world” of specific works of art (and other models), we will try to probe the assumptions which underlie those “worlds” – the “why’s” implicit in the authors’ approaches to their themes, particularly regarding desire and/or power, as well as the themes themselves; and (3) at the end of the course you will be asked to write a paper analyzing the way desire or power (or both) function in Western culture today, based on the principles that the various readings introduced. Attendance is mandatory; there is a cut rule. Internet research and group work are required.

Basis for grade:

C. Snodgrass; 4336 Turlington, 392-6650, ext. 262; 376-8362; snod@english.ufl.edu

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LIT 2120

Survey of World Literature, Renaissance to Present

Christine Roth

A study of representative works of world literature from the seventeenth century to the present. The course emphasizes the study and consideration of the literary, cultural, and human significance of selected great works of the Western and non-Western literary traditions, and it promotes an understanding of the works in their cultural/historical contexts.

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