Undergraduate Courses, Summer 2014

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:

Summer A

AML 4242

Teenage Dream: The American Teenager & Literature

Casey Wilson

The American “teenager” is a twentieth-century invention: the first time the word appeared in print was in a 1941 issue of Popular Science. Our modern conception of the teenager as a distinct developmental and social group soon followed, emerging in the wake of World War II as a consequence of a long incubation period of social, political, and economic change. In this course, we will study novels, films, and other cultural artifacts from across the century that center on the figure of the teenager, and relevant historical and literary criticism that illuminates these works. We will also consider the teenager’s role as both subject and producer in the development of a distinctively American literature. Questions we will explore include: How do we define the teenager? What political and social circumstances c reated the teenager? How has the teenager evolved since the post-war era? What does the teenager tell us, more generally, about American ideals and identity?

toptop

ENC 3310

Advanced Exposition

Andrew Wilson

Advanced Exposition covers modes of expository writing. Emphasizing analytical writing, this course addresses modes of informing, defining, describing and identifying. We will also attend to principles of written style and effective methods of conveying meaning in writing. While this course requires students to experiment with a variety of expository modes, students will have the option of focusing on the modes that best suit the types of writing appropriate to their individual studies or interests.

Students will write five essays, together totaling at least 6000 words. While students can write on almost any topic, this course encourages students to focus on one topic throughout the course.

We will meet Monday through Wednesday to discuss terms and principals of style and research. On Thursday and Friday, students will conference with me individually. Conferences will be 15-minutes and focus on reviewing drafts of up-coming assignments. Conference attendance will be mandatory for each assignment. The class-to-conference ratio may change throughout the semester.

toptop

ENL 3122

Reading and the Nineteenth-Century English Novel

Kayley Thomas

This is a course about reading. Ostensibly, it is a reading intensive survey of nineteenth-century English novels, but it is also a study of practices of reading itself in the nineteenth century.

The early-nineteenth century and the Victorian era saw remarkable and rapid changes in the literary marketplace, with a wider circulation of and readership for newspapers, magazines, and books. The novel in particular emerged as the dominant popular form of literature throughout the century, but this development was not without friction. The press, religious leaders, parents, poets, and even novelists themselves held the novel with suspicion, deeming it (at turns) frivolous, addictive, and scandalous; inferior to established forms of literature like poetry; a mass-market commodity of mere entertainment; and both dangerously removed from reality and too real, invasive and inappropriate in its representation of politics and private lives. Today, such criticisms are directed at popular fictional forms such as television, film, comic books, and video games, even as they are increasingly reevaluated as art forms in their own rights. We will examine the nineteenth-century English novel as it underwent a similar process of contestation and reevaluation.

Of particular interest for us will be the representation of this hyperconsciousness of reading within the novels themselves. As Mikhail Bakhtin notes in The Dialogic Imagination (1981), the “ability of the novel to criticize itself is a remarkable feature of this ever-developing genre” (6). Some of the novels we will read address the eroticism of reading, the instability of narrative, how reading influences identity formation, and how narratives can be read onto the criminal, racial, gendered, and sexualized body. We will also examine how the novels construct the process of reading in their manipulation of genre conventions and narrative form. Possible texts include Frankenstein by Mary Shelley, Northanger Abbey by Jane Austen, Oliver Twist by Charles Dickens, Lady Audley’s Secret by Mary Elizabeth Braddon, The Picture of Dorian Gray by Oscar Wilde, Dracula by Bram Stoker, and New Grub Street by George Gissing. In an effort to reconstruct the sense of reading as a Victorian, alongside these novels we will study essays providing historical context as well as polemics, defenses, and reviews of novels from contemporary periodicals.

This course provides upper-division credit in the major, and will be taught with that in mind; therefore, students will be expected to know how to do research in the field and to attempt the application of critical frameworks. Due to the nature of the material, there is a considerable amount of reading. Carefully consider your reading speed and the expectations of the other courses you are taking before committing to this course. The course requirements include reading quizzes, weekly writing responses, a presentation, and a final paper. As this is a discussion-oriented course, your attendance and participation is also required.

toptop

LIT 4331

Children's Literature

Ulanowicz

This course will provide an introduction to major works of twentieth-century children’s literature. As we examine these texts, we will consider how and why (or even whether) they might be read specifically as children’s books—and how, moreover, their study might prompt us to evaluate our definitions of literature.  Additionally, we will question the ways in which these texts represent race, class, gender, and national identity. 

toptop

Summer B

AML 3041

American Literature 2: Experiences of Empire and Diaspora

Shaun Duke

In Culture and Imperialism (1993), Edward Said argues that narrative fiction is “at the heart of what explorers and novelists say about strange regions of the world; they also become the method colonized people use to assert their own identity and the existence of their own history” (xiii). In the U.S. context, late 19th and early 20th century colonialism abroad was coupled with increasingly restrictive policies at home, from the Chinese Exclusion Act; to post-Civil War racial segregation and Jim Crow Laws; to Executive Order 9066 and the wartime internment of of American citizens of Japanese ancestry; to Native American boarding schools. These experiences shaped the literary output of the U.S. as a whole, and particularly those of American diasporic communities.

This course is concerned with the nature of American identity during times of cultural conflict and how representations of identity, whether within a diasporic community or outside it, offer contexts for understanding America's imperial legacies. This is a wide-ranging topic; we will examine it through a small cross section of literary communities. We will begin the course with Mark Twain’s Adventures of Huckleberry Finn (1884), thus to frame literary critiques of American culture which continue throughout the 20th century. Twain’s novel will also serve as an introduction to the themes and issues which inform the literary output of the Harlem Renaissance. The texts to follow may include Claude McKay’s Home to Harlem (1928), John Okada’s No-No Boy (1946), Ursula K. Le Guin’s The Word for World is Forest (1976), Lois Ann Yamanaka’s Blu’s Hanging (1997), and Leslie Marmon Silko’s Gardens in the Dunes (2000), among others. Assigned readings will be coupled with critical articles on aspects of American culture related to historical and literary problems raised by these texts.

ENC 3312

Advanced Argumentative Writing

Dobrin

This course focuses on making and analyzing arguments; in particular, it addresses writing arguments. We will examine rhetorical argumentative structures and theories, ranging from classical to contemporary rhetoric. We will consider how we read arguments, but in service of better developing strategies for writing our own arguments. We will spend time considering the role of new media technologies and visual culture in making written arguments. We will also write a lot and talk about our writing a lot.

toptop

ENC 3312

Advanced Argumentative Writing

Sanchez

Description not available at this time.

toptop

ENL 4273

Twentieth Century British Literature: One Hundred Years of Transformation

Andrea Caloiaro

The twentieth century was a prolific one for British literature, and a period of profound transformation. In this course, we will attend to that transformation by engaging with a diverse range of poetry, prose, drama, and fiction. Our premise will be to interrogate how British literature not only attests to some of the historical upheavals defining this century—the World Wars, the troubles in Ireland and India, the Holocaust, and the decline of the Empire—but how as a cultural intervention, this literature in fact shapes Britain’s understandings of these events, and thus itself. Beginning at the tail-end of Britain&rsquoi;s “Imperial Century,&rdquoi; we will trace out the aesthetic, formal, and thematic diversity of early twentieth century authors such as Hardy, Joyce, Yeats, and Housman, noting continuities and differences that these authors bear to their predecessors. By also gaining a sense of these authors’ attitudes toward the British nation, of home and of the empire, we will identify the artistic, cultural, and critical contours of what we now call Modernism. Our next consideration will be the World Wars, examining how authors like Brooke, Sassoon, Owen, Graves (WWI), and Woolf, Reed, Sitwell, Douglas (WWII) register the Wars’ experiences and also demonstrate how warfare and technology fundamentally change Britain’s culture, social organization, and map. The second half of the course will thus examine the wakes of World War I and II. From Woolf to Beckett, we will read about the empire’s autumnal years, seguing finally, into a discussion of Britain’s postmodernist and postcolonial literature. What does Britain’s landscape look like toward the end of the twentieth century? And how does literature confront questions concerning “the nation,” race, and language? We will consider these questions through the works of McKay, Thiong’o, Larkin, Walcott, Achebe, Heaney, Rushdie, Muldoon, and Duffy, among others.

Since this is a six week course, our pace will be rapid and ambitious. Our daily class format will consist of seminar discussion and brief lecture. Your continuous input into discussions is beneficial to the class and is also a necessary aspect of your attendance. The assignments for this course will include a few short responses (500–700 words), a researched-based midterm essay (1,000 words), and a researched-based final essay (2,000 words). In addition, unannounced quizzes are possible if the level of daily discussion reflects a need for strengthening or encouragement.

toptop

ENL_4333

Shakespeare

Rudnytsky

This course will focus on Shakespeare and extreme mental states. Through a close reading of three major plays, King Lear, Macbeth, and The Winter’s Tale, we will see how Shakespeare portrays the descent into madness and psychosis, and their possible redemption or cure. By taking a psychoanalytic approach, we will examine how infantile experiences haunt the unconscious minds of his characters and the worlds of the plays themselves. We will likewise be highlighting issues of gender and sexuality, in particular male fantasies about, and fears of, the female body and female sexuality. Course requirements are a midterm, final, and one five-page paper. Regular attendance and active participation in class discussions are also expected.

toptop

LIT 3043

Studies in Modern Drama

Homan

The assumption in all my theatre courses is that the text of a play is not just what is written on the page but that text in performance, delivered by actors before an audience. This means the play’s text also includes gestures, movement, blocking (the stage picture), and sub-text (what the character is saying inwardly, beneath the lines delivered onstage, as well as the “history” for that character invented by the actor). In the theatre, we would further supplement this text with lighting, sound, set, costumes, props, and make-up. To be sure, one can approach a play in a thousand ways—as literature, as a repository for the thinking of an age, as the springboard for political or cultural issues. But, since I work both on campus and in the theatre as an actor and director, and since the theatre itself is a unique medium with its own aesthetic principles, I approach the plays, with my students, and as a fellow “student,” as something meant to be performed by an actor and ratified by an audience. In the class each student will have a scene partner with whom he or she stages several scenes each semester. Once performed, the class and I, as co-directors, “work” that scene with the two actors, trying out options, rehearsing it. The emphasis, therefore, is on learning by doing, and I judge student work by intent, what goes into the performance—not by finesse. If there is finesse, that is considered a bonus. Each actor also writes a short paper assessing his or her experience during rehearsal for a scene. Performances and the scene papers count equally.

In this course, we will thus consider Samuel Beckett’s Waiting for Godot, Embers, All That Fall, Play, Eh Joe, Not I, and Come and Go; Harold Pinter’s The Lover, Old Times, Betrayal, and No Man’s Land, Sam Shepard’s True West, Curse of the Starving Class, and Buried Child; and Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, and Arcadia.

A word of comfort: whether you have acted before or not, experience in the theatre is not a factor in the class. We use acting as a way of studying the text. Have no fears on this issue!

If you have any questions or comments, please e-mail Professor Homan at shakes@ufl.edu.

toptop