Undergraduate Courses, Summer 2005

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 3271

African-American Literature Part II: 1946 to the Present

LaMonda Horton Stallings

“African-American Literature Part II: 1946 to the Present” will provide a survey of the most significant writings by Black Americans from 1946 to 2004. It is meant to introduce students to a variety of authors, genres, and periods. This course will emphasize the development, continuities, and discontinuities within the literary tradition. We will pay special attention to issues of fictional representation of the black experience, including issues of heritage, identity, feminism, sexuality, and the African diaspora. Literature to be supplemented with film, art, and critical readings.

Texts: Norton Anthology of African American Literature or other TBA texts.

Course requirements:

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AML 4242

American Fiction Since WW II

Andrew Gordon

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

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. A major theme will be the quest for American identity in fiction since 1945, especially by minority figures. 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 modes such as realism and metafiction.

Requirements:

  1. Attendance and participation = 10%
  2. Ten quizzes = 20%
  3. Oral report = 10%
  4. Two papers = 60%

You may also write a piece of short fiction (based on one of the novels or stories) for Paper 1, or write on outside works for Paper 2 (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.

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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.” 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. Usually five papers are required along with analysis of selected essays, reading tests, diction work, and assorted in-class writing activities.

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ENG 3010

Introduction to Literary Theory via Visual Textuality

Don Ault

An introduction to selected methods and theories of post 1950s literary/cultural criticism, including various versions of archetypal, phenomenological, psychoanalytic, Marxist, structuralist, and postructuralist theory by direct application of these methods to the poems and illuminations of William Blake, comic books and comic strips, animated cartoons, live action film, and, if time permits, a novel such as House of Leaves or Gravity’s Rainbow. There will be several short papers as well as screenings and in-class discussions which will count significantly toward your final grade.

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ENG 3011

Major Theorists: Jacques Derrida

Julian Wolfreys

Jacques Derrida is one of the most important thinkers of the twentieth century. Amongst so many other subjects, his writings, his lectures, his teaching and his involvement in a number of political causes have transformed the ways in which literature has been taught and the ways in which some of us read and write. However, for as much as Derrida’s writing and thinking appear to have been received in the humanities and social sciences over the past 40 years, there is also the sense that he has not yet been received; he has been resisted, and, in some examples, reviled. The reception and non-reception of Derrida’s writing raises for us a double question, from which this semester’s course will depart and to which it will return repeatedly: what takes place in this scene of writing and in what ways can we open ourselves to receiving this scene and bearing witness to its operations? With these interrogations in mind, and bearing also in mind their inexhaustible, possibly unanswerable condition, we will proceed to pull at certain threads from the vast text of Derrida, exploring in only the most adumbrated fashion the contours of what might be called his thinking and writing. In particular, we will be looking at ways in which Derrida questions the complex relation between literature and witness, testimony, writing, and the gap between experience and textual re-presentations. We will also consider the question of what is at stake in the proper name, and the relation between writing and representation.

Course Readings:

Course Requirements: Two essays c. 2,000 words each; regular in-class participation in discussion.

If you have any questions contact me at <wolfreys@ufl.edu>.

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ENG 4015

Psychological Approaches

Peter Rudnytsky

The course will focus on the journals and prose fiction of Anaïs Nin, with special emphasis on her experience of consensual incest with her father in 1933 and her subsequent relationship, both therapeutic and erotic, with Otto Rank, formerly one of Freud’s closest followers and a leading psychoanalytic authority on the incest theme. The readings will include two volumes of Nin’s journals, Incest and Fire, as much of her fiction as possible, including her pornography, and Rank’s Beyond Psychology. The course requirements are a midterm, final, and one five- to seven-page paper. Regular attendance and active participation in class discussions are expected. Quizzes may be given on the reading.

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ENL 3241

The Romantic Period

James Twitchell

Course description not available at this time.

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ENL 4333

Shakespeare

Richard Burt

This class will take a Shakespeareccentric approach to a number of Shakespeare’s plays, including the following:

By Shakespeareccentric, I mean that we will adopt two different approaches. On the one hand, the text will be the center of study as in a traditional English literature class. We’ll read the plays very closely to appreciate their poetry, narrative structure, characterization, genre, and so on, while also examining issues involving gender and sexuality. On the other hand, we will move away from the text to look at the way Shakespeare is performed in the theater and in film as well as cited in film (foreign as well as American) and other mass media. Instead of seeing the text as a finished monument, we’ll view it as a dynamic, polysemous, work-in-progress open to revision, reinvention, adaptation, and citation in any number of ways, some of them good, some bad. We will watch a number of film adaptations of the plays on their own terms, and this will mean looking at a number of ways meanings are produced in addition to the text (line delivery, facial expression, costume, movement, space, pacing, film editing, lighting, setting, and so on). And getting even less Shakespeare centered, we will watch films that have performances of plays in them (Shakespeare Wallah and Stage Beauty) and/or have Shakespeare in them (Shakespeare in Love). There will be a quiz on the reading at the beginning of each class and a number of short writing assignments in class and out of class. There will also be an extensive film assignment.

For more information, go to <http://www.clas.ufl.edu/~rburt/Burtsummera/>.

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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. Half-way through the course we will have visits by friends in the theatre, directors and actors who will share with the students both the techniques and “secrets” of the stage so that the students’ own work will be enhanced.

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: Beckett’s Waiting for Godot, Stoppard’s Rosencrantz and Guildenstern Are Dead, Pinter’s The Lover, Old Times, and No Man’s Land, and Shepard’s True West and Curse of the Starving Class.

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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 ‘30’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 at Goering’s Books, 1717 NW 1 st Ave):

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 9:00 and 10:00 am. In addition, I can arrange appointments if you phone me at 392-6650.ext267. My office is in Turlington Hall – Rm.4342. Email <rthomson@english.ufl.edu>.

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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 3132

English Novel: 20th Century

Brian McCrea

This course will study how six 20th-Century British novelists respond to the attenuation of traditional sources of value, particularly religious and social sources. It will emphasize how all these novelists (albeit in significantly different ways) offer characters who pursue their lives after a catastrophe of some sort – a catastrophe which impugns prior custom, prior versions of “manners.” In our readings, we will focus upon narrative voice and how authors grant or deny authority to it. We also will analyze the relationship (or lack thereof) between the order of the narratives and the order of those societies that the narratives represent. Paul Fussell’s The Great War and Modern Memory will establish a social context for our readings and open a central question: if the 19th Century witnessed, in J. Hillis Miller’s phrase, the “disappearance of God,” did the 20th witness the disappearance of grammar?

Readings (available at Goering’s Books, 1717 NW 1 st Ave):

Requirements:

The class will combine lecture and discussion; the number of students will determine the mix. Students will write a 10–12 page semester paper and a final examination. They also will be expected to participate in class discussions. Students who have difficulty speaking in class should see me about other ways to contribute. The final examination will consist of identification and short answer questions. Students will need to know the time schemes of the novels and the significance of specific characters, events, objects and quotations. All the questions will come from points made repeatedly in my lectures. Class sessions typically will open with the students writing briefly (10–15) minutes in response to a question about the day’s reading.

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