Undergraduate Courses, Summer 2003

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.

Upper Division (3000–4000) Courses, Summer Sessions A & B

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 3031

American Literature I: Contact to 1865

A. Carl Bredahl

AML 3031 covers 350 years so our syllabus will be highly selective. In the work before 1800, we will concentrate on patterns of thought and approaches to material that are expanded, rejected, or qualified in the writings after 1800 – for example, the poets Anne Bradstreet and Emily Dickinson, Nathaniel Hawthorne’s stance toward the puritans, and the attitudes toward the natural world of Cotton Mather or Mary Rowlandson and those of R. W. Emerson.

Students will write weekly response papers (one page) to the assignments as well as two longer papers (5–7 pages). There will also be several quizzes and a take-home final exam. The class format is discussion so all students are expected to come to class prepared to discuss the assignments.

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AML 4170

A Century’s Harvest of Novellas

John Seelye

We will over the course of six weeks read and discuss a dozen novellas written in America in the late 19th and (mostly) 20th century, in order to give ourselves a brief but broad overview of major literary and cultural issues during a complex and rapidly changing period in our history. We will also pay some attention to the peculiarities of a genre that is neither short story nor novel but part of each and something of both.

For purposes of thematic consistency we will be focusing on the coincidence that most if not all of the novellas we will be reading are “love stories,” although the nature and direction of love is not always immediately perceivable and may seem at times perverse, that is to say self or other destructive.

We will also be having a weekly viewing of a motion picture (2-4:45 PM) inspired by one of the novellas read during that week. This will take place on Thursday afternoon, and the class discussion on Friday will be focused on the interrelation of fiction and film.

Week of

* Hour exams, 2 in all, will consist of 5 questions on the books read over the previous 3 weeks, and will ask you to identify quotations as to novella and author and to discuss briefly the importance of the quotation to the plat and theme of each story. Many of these quotations will have been discussed in class, and if you have read the books and attended the lectures and discussions you should have no trouble with the tests. On the other hand. . .

My regular office hour will be Thursday, 1-2 PM, or by appointment.

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AML 4242

American Fiction Since WW II

Andrew Gordon

Readings

Objectives

An introduction to American fiction since 1945. We will read some of the major authors and look at the techniques and themes of the novels and stories, with particular emphasis on African-American and Jewish-American fiction. We will consider the influence of the Cold War, the Civil Rights Movement, the Vietnam War, feminism, and other political and historical events on the fiction and also take into account literary movements such as modernism and postmodernism and genres such as realism, naturalism, and metafiction.

Requirements

  1. Attendance and participation
  2. Reading quizzes
  3. Two papers
  4. One oral report (about 5 minutes per person)

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ENC 3115

Introduction to Film Criticism and Theory

Brian Doan

This course offers a detailed study of major film theories and their relationship to critical practice. The first part of the class will explore the so-called “classic” period of film theory, tracing out how film was analyzed during the first half of its existence; topics will include cinema’s relationship to other art forms (particularly writing and photography), cinema’s relationship to popular culture and modernism, and cinema’s relationship to both science and aesthetics, all of which center on questions of film’s ontology – how do various critics and theorists define this new medium, and what role(s) do they assign it? The second part of the class will explore how film theory is reconstituted after the events of May 1968, as questions of form and aesthetics intersect more explicitly with ideological and cultural concerns, including semiotics, psychoanalysis, feminism, and Marxist critique. The final third of the class will look explicitly at the relationship of theory and practice by examining the work of the French New Wave, whose films and writings are deeply interrelated. We will read lengthy, often difficult theoretical texts and view important films from the history of cinema. Especially within the shortened space of a summer semester, this class demands that students keep up with readings and assignments and be willing to engage with the materials and class discussions in an active and intense manner.

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ENC 3310

Advanced Exposition

Wayne Losano

This is a standard, traditional (old-fashioned) composition course focusing on familiar rhetorical modes of development (narrative, description, analysis, etc.) with a heavy emphasis on style and rhetorical effectiveness and perhaps a nod towards “creative nonfiction.” Four or five papers plus analysis of selected essays, reading tests, and assorted in-class writing activities.

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ENL 4273

Twentieth-Century British Literature

R. Brandon Kershner

Texts (available at Goerings’ Bookstore): Kershner, ed. James Joyce, A Portrait of the Artist as a Young Man; Norton Anthology of English Literature, 7th ed., vol. 2.

Course Requirements: Since we are trying to survey one of the richest centuries in English literature in the course of six weeks, our pace will be rapid. The format is a combination of lecture and discussion; your discussion is important, so you will be allowed no more than three absences before being offered the choice of withdrawal or failure. If the class does not seem prepared during discussion, we will institute unannounced quizzes. A 3000-word essay is due on the beginning of the last week of class. In addition there will be a midterm examination and a final examination, each combining objective and essay questions. The objective questions will include identification of quotations from the reading and information from the lectures. These three items will determine between eighty and ninety percent of your grade, with the remainder representing your contribution to class (a grade between A and C) and, if necessary, the quizzes.

Course description: We will try to learn the general characteristics of “British literature” in the twentieth century (including the works of Irish and some other Commonwealth writers). About the first half of our study will involve major Modernist writers, such as Joyce and Woolf, and their immediate precursors, such as Conrad. The second half will investigate writers from the thirties through the present day, including a discussion of Postmodernism. We will look at works of fiction, drama, poetry, and the essay, although our stress will be upon prose fiction. Selections will include works by Conrad, Woolf, Yeats, poets of the First World War, Lawrence, Mansfield, Stein, and Pinter up through contemporary British poets.

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LIN 3680

Modern English Structure

Roger Thompson

We will focus on the structure of the English language from the standpoint of descriptive rather than prescriptive linguistics. In other words, rather than teach you “correct” grammar, I will help you explore how English speakers use grammar as they interact with each other in a variety of settings. This should be useful for future English teachers who will work with students from a variety of backgrounds, whether native or non-native speakers of English. It should also be useful for anyone interested in sociolinguistics.

Grades

Exams Have Three Sections

Class participation points are based on class attendance and participation in classroom activities.

At the end of the semester the points are totaled (including the bonus points) and divided by 500. The resulting percentage is converted to a grade according to the following scale: 90-100 is an A, 87-89 B+, 80-86 B, 77-79 C+, 70-76 C, 67-69 D+, 60-66 D. The bonus points do make a difference so I suggest you look into the interaction program at the beginning of the semester since it is not a possibility at semester’s end.

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LIT 3043

Modern Drama – Doing It

Sidney Homan

The focus of this course is performance: students (not to mention the teacher) learn about the modern theatre by doing it. With a scene partner, each student rehearses two or three scenes, performs them in class, and then “works” the scene with the teacher serving as director. No prior acting experience is required, and over the years there has been no advantage for, say, theatre majors: that is, a would-be engineer does as well as a theatre major who does no better than an English major. Scene work is graded on “intent,” what the scene partners put into the scene in this, theatre, the most labor intensive of activities. We will look at Samuel Beckett’s Waiting for Godot, Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, Harold Pinter’s The Lover, Old Times, and No Man’s Land, and Sam Shepard’s True West. Students will also assist Professor Homan with a forthcoming production of the Weill/Brecht musical The Threepenny Opera. To be sure, the playwrights will be put in the context of their critical and theatrical history, even as this course itself is based on actual performance. Two papers required, one assessing each actor’s experience doing scene work, the other a production at the Acrosstown Repertory Theatre.

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LIT 3383

Women in Literature: “Placing” Women in Literature

Megan Norcia

Focusing on the “place” of women as authors and subjects in nineteenth and early twentieth-century texts, this course encourages students to develop their own arguments about how and where gender, identity, and authorship are made manifest in the space of a culture. Utilizing the digital resources of the Networked Writing Environment (NWE), students will hone their research and composition skills across a variety of media, discussing and analyzing the “placing” of women in poems by writers like Tennyson and Browning; in novels by Brontë, Haggard, and Woolf; and in essays by Ruskin and Woolf, within the artistic setting established by the Pre-Raphaelites and in the historical context of the early First-Wave feminist movement.

No prior HTML experience is necessary for this course – students will be guided through the process of making web pages, responding to texts on class email lists, and conducting Internet research.

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LIT 4331

Children’s Literature

James Haskins

The course will examine picture books, board books, counting books, video and audiotapes, as well as a history of each genre, with special emphasis on classism, racism, and sexism. Reports on reviewing services and other major awards in children’s literature will be assigned, as well as class discussion and reports on multi-ethnic literature, with emphasis on African American, Asian, Latino and Native American literature.

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ENG 4060

History of the English Language

Kevin McCarthy

The objective of the course is to study the origins and development of the English language, from Indo-European times to the present. We will study the syntax, pronunciation, semantics, and morphology of the language as it has evolved to the present.

Requirements: 4 tests, each worth 25% of the final grade.

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ENL 4333

Shakespeare: Feminist/Gender-Oriented Approaches

Jack Perlette

This course will focus on the dramatic works of Shakespeare, from which we will read as large a selection as time allows. We will also be reading a large amount of critical commentary on the plays and the contexts in which they were written. Shakespeare criticism is (literally) massive and incredibly varied. From the vast array of possibilities, I have chosen to attempt to impose some coherence by selecting recent criticism written from what might be called a feminist/gender perspective. In my opinion, some of the most interesting and innovative work on Shakespeare is being done in this mode. Our objective, then, will be not only to read Shakespeare, but also to investigate the particular contribution made by feminist/gender criticism to our understanding of Shakespeare, his texts, and his times. I find this approach interesting and informative, and I hope you do too.

Texts

The required primary text (ordered exclusively at Goerings) is The Norton Shakespeare, ed. Stephen Greenblatt, et al. (1997). Required secondary texts will be available in xerox form.

Reading List

Tentative reading list of the plays, in the order of reading:

(A play may be deleted and other titles may be substituted for or added to the above; you should expect some, though not much, change.)

Prerequisites

Technically, none. I do not expect you to know, in advance, anything about Shakespeare, the early modern period, or literary critical theory, but I will expect you to know how to write a focused, organized, well-developed essay with a minimum of mechanical (i.e., spelling, grammar, punctuation) errors.

Requirements

The most basic requirement is that you do all the reading with enough care and attention that you can remember key elements of both the primary and secondary texts. You will need to have a strong command of this material in order to do well on the mid-term and final (in-class) essay exams. In them you will be given substantial passages from the primary texts and asked, first, to identify text and context and, second (and most importantly), to analyze these passages, explaining the significance and implications of the statements, including the applicability of concepts from the secondary readings. This will require intensive initial readings of the texts, and some re-reading and review as well. You will also need to know and understand the particular critical approach we will be taking to these texts. Therefore, it will be important that you be actively engaged in the classroom sessions. Your understanding of the critical approach we employ will also be fundamentally important to the optional (7-9 typed pp.) essay you will write during the term. This essay will require that you apply (on your own) critical concepts from the secondary readings and class discussion to a primary text which we will not be discussing in class. (You will need to be able to write decently, as was mentioned above).

Note: Depending on the results of your exams, you may earn up to a grade of B without writing the optional essay. To qualify for a grade of B+ or A, you must submit the essay. Your grade will then be based on the two exams and the essay. Submitting the essay does not guarantee a higher grade.

Attendance

In the absence of a university-wide policy, each instructor sets his or her own. I expect you to be here – every day.

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LIT 4322

The Folktale

Robert Thomson

For the purposes of this course, the term folktale will be held to encompass all forms of orally transmitted prose narratives including myths, legends, memorates and wonder-tales. No knowledge of the folktale nor of the general field of folklore studies is assumed by the instructor. The first week or so of the course will attempt to orient all students to the place of the folktale in folklore studies. The three required texts have been chosen to give a representative collection of all types of prose narrative. While covering the major aspects of the familiar European tradition the texts will also bring to our attention the ethnic traditions of the United States, particularly the oral narratives recorded from Native Americans in Wisconsin at the turn of the nineteenth/twentieth centuries and African-Americans in Eatonville, Florida in the 1920’s and 1930’s. In addition, we will address those issues that have for half a century kept theorists and analysts struggling with the complexities of these “simple forms.”

Texts (available from Goering’s Bookstore)

In addition to the study of tales within the texts above, we will address the following topics:

There will be 2 tests given at roughly two week intervals during the course. In addition two reports, each of about 2500 words, will be required. Grades will be based upon the tests (10% each test) the reports (30% each report) and class participation etc.

I will be available on class days between 8:00 and 9:00 AM In addition, I can arrange appointments if you phone me at 392-6650, ext 267. My office is in Turlington Hall – Rm. 4342. Email: <rthomson@english.ufl.edu>.

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