Undergraduate Courses, Summer 2004

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 4242

American Fiction Since WW II

Andrew Gordon

Readings (at Goering’s Books, 1717 NW 1st Ave, next to Bageland):


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.


Attendance and participation. You are allowed to miss any two classes. Every unexcused cut after that means two points off your final grade, up to a total of ten points. Late arrival or early departure from the class counts as half a cut. Attendance alone is not enough; you are expected and encouraged to participate in class discussion. Attendance and participation = 10%.

Twelve short quizzes. Short answers on character and plot to keep you current on the reading. No makeups, but I drop the two lowest quiz grades. Ten quizzes = 20%.

Two papers. I will suggest topics, but feel free to write on any idea, feeling, character, image, or technique of one work. Original thought and closely focused, careful analysis are encouraged. Papers may evolve from but should not merely repeat class discussion. You are also encouraged to apply to the fiction knowledge from other courses (sociology, history, psychology, philosophy, art, music, women’s studies, or political science, for example).

Paper One is four pages (about 1000 words) on one work from Weeks 1–5 and may but need not necessarily involve research. 25% of final grade.

Paper Two is a research paper (cite at least three critical sources) of six-seven pages dealing with one work or a comparison between any two works (but please exclude any work you wrote on for Paper 1). 35% of final grade.

You may also write on outside works (but clear this with me). You may revise Paper 1 if its initial grade is below B. This is due within one week after the paper is returned. Papers = 60% .

One oral report (about five minutes per person). Possibilities include critical information on an author, report on some outside work, discussion or debate on a work, dramatic reading or staging of a scene, a piece parodying the author’s style, a review of the film version of the novel, a mock interview with the author, or a videotape presentation. Avoid capsule biographies; we have those already in the Perkins anthology. Also avoid reciting a list of works and dates and awards (a printed handout can do this better).

These reports may help you prepare for your papers. Reports may be done individually or with a group of two-four students (I will distribute sign-up sheets). Have fun; this is required but ungraded (that is, everyone gets 10 points for doing it). Let me know if you need audiovisual equipment. Oral report = 10%

Class etiquette: please, no chatting, reading, or sleeping during class.

There will be no midterm or final exam.


AML 4453

The Everyday in Early Twentieth Century American Literature and Culture

Derek Merrill

This class departs from Henri Lefebvre’s problematic of the “everyday”:

The everyday is covered by a surface: that of Modernity. News stories and the turbulent affections of art, fashion and event veil without ever eradicating the everyday blahs. Images, the cinema and television divert the everyday by at times offering up its own spectacle, or sometimes the spectacle of the distinctly noneveryday; violence, death, catastrophe, the lives of kings and stars – those who we are led to believe defy everydayness. Modernity and everydayness constitute a deep structure that a critical analysis can work to uncover. (“Everyday and Everydayness” 8 – 9)

What does this surface covered by Modernity look like in early 20th century American culture? How does literature register Modernity’s influence and insertion into people’s everyday lives? What does literature imagine veiling the “everyday blahs”? To begin to uncover the deep structure of the everyday produced by Modernity we will examine how literature addresses those processes of separation that radically shift the way people live and relate to one another. To do so, we will look at how the rising influence of consumer culture, Fordism, and crowds in everyday life contributes to organizing social behavior and standardizing urban space.

Authors we will read this summer: Stephen Crane, John Dos Passos, Nathanael West, Edith Wharton, Richard Wright, Gustave Le Bon, Henri Lefebvre, and Georg Simmel.


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.” Grammatical competence will be assumed although helped along a bit as necessary. The course is primarily intended for those who plan to teach writing or who will need to write as part of their graduate or professional studies or their later careers. It is not, however, as immediately practical as Professional Communication (ENC 3250) for those considering positions in industry. Usually five papers are required along with analysis of selected essays, reading tests, and assorted in-class writing activities.


ENC 3312

Advanced Argumentative Writing

Ronald Carpenter

In the short summer term version, Argumentative Writing (ENC 3312) focuses on several specific facets of the rhetorical process by which discourse can influence the attitudes and actions of other people. Students practice these techniques, respectively, in shorter weekly papers as well as a longer final paper, which incorporates virtually all of the principles studied and practiced earlier. Papers are discourse to persuade on current controversial topics of the students’ choice, likely related to their immediate interests or future professional goals. The only prerequisite for the course is the capability to write grammatical sentences that are punctuated correctly.

Summer session instruction has the following format. On Mondays and Tuesdays, your instructor lectures about principles and techniques to practice that week. At the end of the Tuesday period, the paper for that week is assigned. Attendance and careful taking of notes are very important because in the summer term the course does not have a textbook. The instructor will suggest readings if you need them, but the lectures should make supplementary reading unnecessary. If unsure of your ability to take notes, however, you may audio-tape Monday and Tuesday lectures. Wednesday class meetings are for informal discussion wherein your instructor answers questions about materials covered in lectures and responds to examples of the techniques that you find in current newspapers and periodicals. On Thursdays and Fridays, all students are scheduled to read aloud – for prior feedback from the instructor and class members’ excerpts from early drafts of their writing assignments. The final draft of each weekly paper is turned in the immediately following Monday and returned, graded, on Wednesday. The final paper must incorporate still other precepts and most of the principles and techniques practiced in the shorter weekly papers.

All papers must be turned in typed, double-spaced, and of the assigned length. Your instructor requires use of word processing (several facilities on campus offer use of computers if you do not have your own). Therefore, lengths of papers are known, and your word processing program will check your spelling (grades on papers can suffer accordingly because of spelling, punctuation, and grammatical deficiencies). In papers 1, 2, and 3 you must “color code” by underlining to identify the specific techniques you are using (so obtain several different color markers).

A final exam calls upon you to analyze the principles of persuasion utilized in a prominent instance of rhetorical discourse. You must identify correctly the principles or techniques being used, their quantitative extent, and why they are qualitatively appropriate or inappropriate. Students also will be called upon to re-write portions of that text using different techniques named on the test by the instructor. Students will receive a copy of that text in a class meeting before the examination day.

The final grade in the course is determined one-third by the final exam grade, one-third by the longer final paper, and one-third by the average on the shorter weekly papers. Again, the course in the summer does not have a textbook so attendance and careful note-taking are very important.

For the Summer A term in 2004, my office hours are Tuesday and Thursday afternoons, 3:00-5:00. Students can see me during those hours without appointments. My office is in 4340 Turlington Hall; my telephone number is 392-9110 ext. 265.


ENL 3251

Victorian Literature: Dickens to Hardy

Julian Wolfreys

…the essence of an epoch of expansion is a movement of ideas…

– Matthew Arnold, Culture and Anarchy (1869)

We ourselves are standing on the threshold of a new era, and we are already hastening to make as wide a space, mark as vast a difference as possible, between our own age and its predecessor.

– Letitia Elizabeth Landon, On the Ancient and Modern Influence of Poetry (1832)

Giving consideration to major novelists and poets of the nineteenth century, this course will ask the following questions: who were the Victorians? How did they see themselves? What events shaped the period and determined for the inhabitants of the British Isles a sense of cultural and national identity? In raising these questions, it will not be assumed that there was a single identity, frame of mind, or world picture for the so-called Victorians (who, in any case, saw themselves for the most part as ‘modern’, and did not use the adjective ‘Victorian’ until at least half way through the century), but rather that any sense of identity was fractured, contested, and informed by difference and a perpetual sense of self-reflection, self-questioning, and self-reading.

The dates we will use as the parameters for this course are 1832–1884. All periodization is arbitrary, but I am provisionally defining the era by, on one end, the First Reform Act of 1832, which extended the franchise to the middle classes and doubled the number of British subjects eligible to vote, and at the latter end by the international recognition of the prime meridian at Greenwich, London and the passing of the Third Reform Act, both of which take place in 1884. The course will examine how the texts of the period in question mediate various versions of identity and subjectivity; in addition, we will be looking at the ways in which both poetry and novels mediate, and are overdetermined by, cultural and ideological events and formations.


The range of material published in the 19th century is so vast that it is impossible to provide anything approximating a reasonable or fair representation. Therefore, we will be highly selective, and it will be understood that each text, in its uniqueness, operates metonymically in what it has to say about the era in which it is produced. There will be seven principal texts, three long poems and three novels, and, as far as possible, I will select texts from each decade of the period with which this course deals. These will be:

Course requirements

Two essays, one on a novel of your choice from the reading list, the other on one of the poems. Each essay is worth 35%; attendance and contribution to discussion accounts for the other 30% of your grade.


ENL 4333


R. Allen Shoaf

Aims of the Course: This course will focus on the tragedies, all of them, with some attention paid to the narrative and lyric poetry. Shakespeare’s language, his rhetoric and figuration, will be the principal topic of our work.

Text: The Norton Shakespeare, ed. Greenblatt, et al.

Reserve List: There will be a list of around 20–25 titles in Library East (I assume that that will be the location). Students may want to provide their own copies (any edition) of Ovid’s Metamorphoses since limited selections will be assigned from this poem.

Requirements: Spot quizzes to assess progress in the readings (unannounced except for the notice on the syllabus); two papers, 5 pages in length; no final exam; mandatory attendance – the first two (2) absences will be excused, but each absence after two, unless excused for extraordinary reasons, reduces your final mark by 10%.


LIT 3041

Studies in Drama: Citizen Comedy and Domestic Tragedy in the Age of Shakespeare

Robert Thomson

A study of a group of plays unified by being set in the contemporary London and environs of their authors in the late sixteenth century or the opening decades of the seventeenth century. The main focus will be upon the texts and their social, political, historical and cultural contexts.

It has been suggested that City Comedy (however we define it) moved to the center of the Elizabethan Stage when Londoners started to reflect upon their new social roles and their urban setting. Social mobility with its attendant pretensions, hypocrisy, greed, pathos etc, arose in the midst of the new middle class society of trade and commerce and gave substance to these plays, as did the threatened state of an increasingly impoverished and newly dependent gentry.

The plays to be studied will be:

Two essays will be set (ca. 2000 words) and in addition there will be a number of in-class tests and oral reports There will be no final exam.


LIT 3043

Modern Drama: Learning by Doing

Sidney Homan

The focus of this course is on performance, on plays as not just texts but as something happening in space and time, and ratified by an audience. Therefore, we learn about modern drama by doing it, and so each student works with a scene partner, with whom they rehearse a scene, stage it for the class, and then work with the director to polish and evaluate their work. No experience in the theatre is required, and, historically, Mechanical Engineering majors have done as well as Theatre majors who have done no better than English majors. Scene work will be graded on the intent of the actors, what they put into it – not finesse. The course’s major paper will be an assessment of your experience doing the scenes.

Again, the assumption is that a play is not just the words on the page but also the sub-text (the history of the character as devised by the actor), movement, gesture, blocking, as well as the physical dimensions of the stage itself – set, lighting, props, costumes. Author of books on Shakespeare and the modern theatre, Professor Homan also works in commercial and university theatres as an actor and a director. Students in the course often go on to work with him in the theatre.

We will learn about: 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 and Curse of the Starving Class.


LIT 4333

Literature for the Adolescent

Kenneth Kidd

This course examines literature for, by, and about adolescents in the twentieth century, across a range of genres and with attention to the political and social history of adolescence as a concept and as a lived experience. We’ll concentrate on what’s now called “young adult” literature from the 1960s forward, but we will read and discuss that material in light of earlier narrative traditions. The modern adolescent is of course intimately connected to material culture in particular ways; being a so-called “teenager” means watching tv, driving cars, and buying lots of cool stuff. It also means being a social problem, and many of our selections are problem novels in the new realism mode of young adult literature. In this abbreviated summer section, we will concentrate heavily on contemporary literature in the hopes of assessing what’s happening in young adult publishing and media culture. The course will be conducted as a seminar and participation is crucial. We will read around 2 YA books per week, plus some criticism and theory. Requirements include weekly response papers, regular participation, and 1-2 essays to be negotiated later.

Texts (Check with me before you buy books, as titles are subject to change)


LIT 4535

Women and Popular Culture: Women of the “Space Age”

Stephanie Smith

From the moment Russia, the former Soviet Union, launched a small satellite named “Sputnik,” in 1956, America found itself in a “space-race” with its former WWII ally. Of course, America and the Soviet Union had been locked into a “Cold War” for some time by 1956, but once Sputnik orbited the earth, sending signals home, the two nations engaged in a “space race” to see which nation could reach the moon first. And thus from 1956 until the last man left the moon in 1972, American popular culture became deeply effected by what we now call the Space Age. Of course imagining a “trip to the moon,” is a very old story; but once America decided to put all of its resources into actually going, popular culture followed suit. In this course we will re-examine the popular culture of the Space Age with a particular eye on how women were – and were not – imagined as part of that Age.

We will use such varied texts such as Episode 11, “The Original Wives Club,” From the Earth to the Moon; episodes of “Lost in Space,” and “The Jetsons” (if I can get them!); stories of the Mercury 13 (female astronauts chosen for an experimental Mercury program and then dumped by NASA); Pink Think, Barbie Nation, etc.

Requirements will include response papers, a mid-term and a final.


ENL 4333

Shakespeare: Feminist/Gender-Oriented Approaches

Dean Swinford

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.


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.)


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.


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.


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


LIN 3680

Modern English Structure

Kevin McCarthy

Modern English Structure will study the status of the English language today: a brief look at its history, then a detailed examination of the syntax, morphology, semantics, and pronunciation of Modern English. There will be four tests, which are based on class lectures, discussion, and readings from the text.


LIT 4333

Literature for Adolescents

James Haskins

The course will examine literature appropriate for adolescent and young adult audiences, with special emphasis on the sociopolitical and psychological interpretations of the various genres. Genres to be explored will include nonfiction, historical and modern fiction, and literature for the young adult audience dealing with contemporary themes of interest, as well as the problem novel. Issues such as censorship, religious themes, intercultural and interracial dating, abortion, and substance abuse will be discussed. Group discussions will be emphasized, and individuals as well as groups of students will be assigned reports and asked to lead class discussions on authors and book topics.

Required Text

Required Supplementary Readings

* Two titles to be announced in class


Two textbook chapters per week, plus supplementary readings keyed to various chapters. All students, whether as individuals or in groups, will be assigned classroom reports and will lead discussions on the authors and topics of the supplementary readings.

One research paper of 10-15 typed, double spaced pages (topics to be cleared with me before beginning work). Any of the acknowledged, official styles may be used, i.e., MLA, APA, so long as you are consistent in your use of it. Papers are due in the English Department office no later than 4:00 PM on the Friday of “dead week.” A box with my name and course number will be available there. Do not put papers under my office door.


Your grade for this course will be calculated as follows:

Office Hours

Wednesdays 5th period or before/after class on Tuesdays and Thursdays.

Contact Information