Fall 2018 Course Descriptions


100-Level Courses

200-Level Courses

300-Level Courses

400-Level Courses

Professional Technical Writing Courses (All)


ENGL 160A1 – 101 **ONLINE: SEVEN WEEK-SECOND Session**

Colonial and Postcolonial Lit                                                                                                    Gen. Ed. Tier I TRAD

Instructor: Abraham

As a nation we seem more divided than ever. Anger, resentment, and calls for resistance against various cultural forces are in full force throughout the country. At the center of this storm is the presidency of Donald J. Trump, whose unprecedented campaign and election has led to the rise of large-scale resistance movements among women, ethnic minorities, environmentalists, and ordinary citizens intent on defending constitutional norms and mainstream governmental institutions.

In this course, we will explore the role of anger and resentment in the context of understanding this current historical and political movement that has made resistance fashionable again. How are anger and resentment mobilized to create coalitions around key social issues such as feminism (#MeToo), the Black Lives Matter Movement, and those who constitute a general opposition to Trump’s policies on many fronts including healthcare, education, and corporate control of worker rights? How might we go about thinking about and discussing these oppositional movements that have tapped into widespread anger and disappointment in the state of American democracy? Trump’s campaign itself constituted a unique form of opposition to elite culture as it rallied working class whites in the American heartland to rise up against “political correctness” and experts who Trump described as contributing to the destruction of the American Dream. Stirring up this resistance that connected to misogynistic and nationalist discourses constituted a form of demagoguery, enabling Trump to offer simplistic solutions to complex problems such as immigration, terrorism, and border control.

Just how anger and resentment become mobilized to fuel political movements is a complex process that taps into social, political, economic, and historical forces that are often unrecognizable to those caught up in them. One of the major goals of this course is to unpack what these forces look like, as we try to determine how they animate people’s everyday lives, hopes, and aspirations.

Students will be expected to produce an eight-page paper by the end of the course engaging the main themes introduced. In addition, students will be expected to respond to frequent discussion prompts on D2L.

Course Texts:

J.D. Vance’s Hillbilly Elegy: A Memoir of a Family and Culture in Crisis

Pankaj Mishra’s Age of Anger: A History of the Present

Patrisse Khan-Cullors’ When They Call You a Terrorist: A Black Lives Matter Memoir

Laura Kipnis’s Unwanted Advances: Sexual Paranoia Comes to Campus

ENGL 160D1 - Critical Cultural Concepts                                                                                Gen. Ed. Tier I TRAD

  • 001 (*Honors)   **Hybrid MW 9:00-9:50 a.m.           Instructor: BERRY
Critical Cultural Concepts: Humanities in Action
This is a hybrid honors general education course, most appropriate for first-year students.  What is a hybrid?  It means that we will meet in person two mornings a week.  On your own schedule, and in small groups, you will be exploring the art, music, poetry and cultural life of the University of Arizona and Tucson, and submitting "field reports" of your discoveries. We'll talk about these adventures in class, as well as the cultural artifacts -- from film to photography -- assigned for reading and viewing.  By the time this course is done, you will know more about the culture of this particular place, as well as getting a grounding in humanistic thinking and cultural studies.
  • 002                                    MWF 1:00-1:50 p.m.           Instructor: STAFF

This course examines--through literature, film, art, and philosophy-different concepts critical to the shaping of primarily "Western" culture(s), with a glance at similar concepts in "non-Western" cultures. The course is also "critical" in the sense that it asks students, through virtually weekly take-home quizzes, to critique these concepts, taking the wheat and letting the chaff be still. Topics may include the ideology of war or human rights; the problem of evil; the figure of the Trickster; and others.

ENGL 160D2 – Monsters, Aliens, Ghosts, and Others                                                                                   Gen. Ed. Tier I TRAD

  • 001                   TR 9:30-10:45 a.m.           Instructor: STAFF

This course will explore the widely different cultural meanings and symbolic functions attached since ancient times to questions of human identity, values, and boundaries that various representations of the 'Nonhuman' bring to bear on culture and civilization, and on the very definition of what it means to be human. Boundary-challenging (or boundary-confirming) imaginary entities like the monster, the alien, ghosts, and other imaginary (or are they?) beings appear often in our ongoing investigation into who and what we are and what meaning life holds for us (and vice versa). For example, "Monsters": seemingly non-human (though often partly human) prodigies that mix supposedly different levels of being in one grotesque figure that therefore seems "abnormal" -- but also strangely familiar (or, as Sigmund Freud would say, "uncanny"). The emphasis, though, will not be simply on the kinds of monsters that appear in the influential forms of expression we study. Instead, we will analyze monsters as indicators of cultural history. Specifically, we will probe how selected Western and non-Anglo uses of monsters make such figures symbolic carriers of "cultural values" (often called ideologies) at different times and places. These "values" include systems of religious belief, assumptions about the universe and the nature of human being, the differing views of competing cultural groups, distinctions of gender or race or class, notions of social order and disorder (including the locations of power), and ways in which cultural groups establish "others" or "the other" in order to seem clearly "themselves." Monsters, we will see, often become symbols in which cultural conflicts are played out at different points in history, conflicts that emerge from fundamental tensions in Western societies or between Anglo-European and other cultural groups in the Western world. This class assumes that it is vitally important for students today to understand the history of these conflicts and tensions so that we all know more about our cultural roots. It also assumes that it is vital for students to grasp how symbolic figures and works reflect historical and ideological change and to be able to articulate such relationships with strong textual evidence in well-organized analyses and arguments, orally and on paper.

ENGL 201—Introduction to the Writing of Creative Nonfiction                                              CORE (CRTV)

  • 001- TR 11:00 a.m.-12:15 p.m.                 Instructor: STAFF
  • 002- TR 9:30-10:45 a.m.                            Instructor: STAFF
  • 003- TR 2:00-3:15 p.m.                              Instructor: STAFF

The student will gain a working knowledge of these concepts and terms:  memoir, personal essay, portrait, travel essay, literary journalism, narrative voice, dialogue, metaphor, image, scene, narrative summary, reflection, and research.  The student will read selected texts and discuss craft elements in works of literary nonfiction.  The student will develop writing skills by doing exercises and writing assignments in several modes of nonfiction writing (i.e., portrait, travel essay, memoir).

ENGL 209—Introductory Poetry Writing                                                                                      CORE (CRTV)

  • 001- TR 11:00 a.m.-12:15 p.m.                                   Instructor: STAFF
  • 002- TR 9:30-10:45 a.m.                                              Instructor: STAFF
  • 003- TR 2:00-3:15 p.m.                                                Instructor: STAFF 

The beginning course in the undergraduate poetry-writing sequence. Method of instruction: class discussion of student poems, with some readings of modern and contemporary poetry. Workshop sections are limited to 20 students. Priority enrollment given to Creative Writing majors and minors.

ENGL 210—Introduction to Fiction Writing                                                                                   CORE (CRTV)

  • 001- TR 9:30-10:45 a.m.                                                     Instructor: STAFF
  • 002- TR 11:00 a.m.-12:15 p.m.                                          Instructor: STAFF
  • 003- TR 12:30-1:45 p.m.                                                     Instructor: STAFF

The 200-level course introduces the student to craft terms and concepts through lecture, exercises, and reading selections.  The workshop method introduces the sharing and critique of original student work in breakout discussion groups.  Students gain a working knowledge of basic craft terms and concepts such as character, plot, setting, narrative time, dialogue, point-of-view, voice, conflict resolution, and metaphorical language. The group will analyze readings from published authors are analyzed from a writer’s perspective.  Students will identify and hone the writing skills necessary for success in fiction writing.  Students complete exercises based on these elements and write at least one complete short story.

ENGL 215-101 **ONLINE: REGULAR SESSION**            Instructor: Wilson                  

Elements of Craft: Creative Writing                                                                       CORE (CRTV)

This course is an introduction to multiple genres of creative writing in shorter forms: poetry, the short-short story, brief creative nonfiction, and the Ten-Minute play. The main objective of this course will be acquainting you with various creative literary forms and genres. We will also develop and explore techniques of craft, revision, and complementary reading practices.

ENGL 220A- Literature of the Bible    Instructor: Klotz                                       ELECTIVE (ENGL)

  • 001-TR 2:00-3:15 p.m.

The various stories, laws, teachings, histories, proverbs and poems that constituted the “Biblia,” or “little books” that were eventually gathered together and canonized into what we now know as the Bible provide an essential foundation for understanding English literature in virtually all English-speaking countries. While we will not be able to read all of the Bible in one semester, this course will provide an overview, examining it as a literary, rather than a religious, text. We will be looking at both the Tanach (the Hebrew Bible) and the Christian writings (the New Testament). In approaching these texts as works of literature, we will be asking: who wrote these documents?  For what kinds of audience were they originally intended, and what can we surmise about their original purpose? How did they borrow from other contemporaneous sources, and how did their meanings come to change over time? How do they relate to other historical and archaeological evidence of the era? And how have their meanings changed over time, as they have been refracted through the interpretations of subsequent generations of readers / believers?

WARNING: This is a reading-intensive course. While I warmly welcome students of all faiths in this class, our discussions may prove challenging to the faith of some who believe the Bible to be a sacred document. I ask all students to approach this course with a willingness to dedicate considerable time to the readings, and with an open mind.

ENGL 255—Introduction to the English Language                                                          LANGUAGE EMPHASIS

  • 001-TR 12:30-1:45 p.m.     Instructor: KAYI-AYDAR

Basic concepts in the study of the English language: history, semantics, phonology, morphology, syntax, and discourse. English in its social context: regional and social varieties, language acquisition, and English as an international language.

ENGL 263—Topics of Children’s Literature **ONLINE: REGULAR SESSION**             ELECTIVE (ENGL)

Instructor: PEARMAIN

From the “origins” of the Children’s Literature to the current day call for diverse voices in the genre, this course examines the development of concepts of the child, children’s literature, and Western Culture. We will read a broad spectrum of historical and contemporary U.S., British, and world literature, and works representing a variety of genres and cultures. Through a survey of folk tales, picture books, middle grade novels, and young adult novels we will consider the historical development of children’s literature as well as its dual agenda of instruction and amusement.

ENGL 265—Major American Writers                                                                      ELECTIVE (ENGL)

  • 001-TR 12:30-1:45 p.m.    Instructor: MELILLO

Major American Authors Music and Literature in the American Grain

In this class, we will explore the many ways in which major American writers and composers imagine and reimagine the relationships between music and literature. We will examine a variety of works, ranging from the beginnings of American literary and musical culture to the present day. We will listen to the ways in which music and literature not only influence each other formally and thematically but also how, at times, these two arts blend to a point where we cannot distinguish between them. Our work will focus on major texts and compositions that create and contest American literary and musical culture. We will read and listen to work like the Bay Psalm Book; Henry David Thoreau’s Walden; Walt Whitman’s Leaves of Grass, poetry by Edgar Allan Poe, Emily Dickinson, T.S. Eliot, Langston Hughes, Gwendolyn Brooks, and many more; Dubois’s The Souls of Black Folk; blues and jazz lyrics; Charles Ives’ Concord Sonata, George Antheil’s Ballet Mécanique; John Cage’s 4’33”. We will also examine American popular song traditions from folk ballads, blackface minstrelsy, African-American slave songs and spirituals, ragtime, blues, jazz, rock ’n’ roll, punk rock, and hip-hop. This class will require us, as Charles Ives famously stated, “to stretch our ears” and listen to relationships and affinities too often passed over.

ENGL 280—Introduction to Literature                                                                   CORE (ENGL/CRTV)

  • 001-MWF 11:00-11:50 p.m.  Instructor: STAFF

Close reading of literary texts, critical analysis, and articulation of intellectually challenging ideas in clear prose.

  • 002- MWF 2:00-2:50 p.m.     Instructor: SHERRY

This course will be a study in the major essays of Thoreau. “Civil Disobedience,” “John Brown,” and “Walking” will be included. “Civil Disobedience” played a prominent part in development of the peaceful resistance strategies of Ghandi and Martin Luther King, Jr. It is his most famous essay, and one of the best known American essays in the world.

We will read these essays closely and carefully with the aim of learning the art and craft of textual interpretation. Six short essays and a final will be required. The essays will be assigned to give the students the chance to learn to write interpretive essays.

  • 003- MWF 10:00-10:50 p.m.                     Instructor: STAFF

Close reading of literary texts, critical analysis, and articulation of intellectually challenging ideas in clear prose.

  • 004- TR 2:00-3:15 p.m.                              Instructor: MATUK

Close reading of literary texts, critical analysis, and articulation of intellectually challenging ideas in clear prose.

  • 005- TR 11:00 a.m.-12:15 p.m.                Instructor: COOPER-ALARCÓN

For this section of English 280, we will read a wide-range of different types of literature: short stories, poems, plays, novels—as well as some texts that are not so easy to classify.  We will discuss the challenges that each of these different literary forms present us as readers, as we try to interpret and make sense of them.  Over the course of the semester, we will discuss the varied elements that comprise literary works, the varied aspects that one might consider when analyzing a literary text and different interpretive approaches to literature.  We will also discuss literary tradition and why it matters when thinking about individual texts.  The reading list for the course will likely include short stories by Bret Harte, Jack London, Ernest Hemingway, Clarice Lispector, and Rosario Ferré; the play “Zoot Suit” (a revival of which is currently playing to sell-out crowds in Los Angeles); Volkswagen Blues (a delightful road trip novel), and Art Spiegelman’s Pulitzer prize-winning, graphic memoir about the Holocaust, Maus.  Expect to write several short papers over the course of the semester.

  • 101- **ONLINE: REGULAR SESSION**      Instructor: STAFF

Close reading of literary texts, critical analysis, and articulation of intellectually challenging ideas in clear prose.

ENGL 300—Literature and Film                   Instructor: White                                       ELECTIVE (ENGL/CRTV): MODERN CONTEMPORARY LIT       

  • 001- MW 3:00-4:15 p.m

This is a course on the aesthetics of literature and film.  We delve into formal properties, but we will also discuss the ideologies of race, gender, nation, and so on.  This semester we will discuss genre in film and literature.   Genres discussed will include the Crime Film, the Western, Horror, Melodrama, Science Fiction, and Comedy.  Assignments include works of fiction from each genre category.  Students will write weekly 500-word screening reports and take substantial midterm and final exams. 

ENGL 301—Intermediate Nonfiction Writing                                                                              CORE (CRTV)

  • 001- TR 9:30-10:45 a.m.                Instructor: Monson

This is the intermediate course in the undergraduate creative nonfiction-writing sequence, with an in-depth emphasis on craft techniques and research. Literary nonfiction, as we’ll talk about it, is largely the hinge between the I and the eye, the observing self, and the observed world,  You can expect to read  some of the many modes of contemporary and classic nonfiction, but more importantly to go out into the world and find ways of bringing bits of it back to us. We will spend time on writing about music and memory and food and pop culture, as well as on the bigger subjects: self, love, death, politics, ethics, friendship, art. We will spend most of our time in the essay, but will also drive through the article, reportage, memoir, lyric essay, and who knows what other strange sidetracks. Expect to do a lot of writing and reading this semester, and to bring back what we can of the weird world into our writing.

ENGL 304—Intermediate Fiction Writing                                                                                    CORE (CRTV)

  • 001- TR 9:30-10:45 a.m.                Instructor: IROMUANYA

As an intermediate fiction writing workshop this course extends and complicates craft technique introduced at the beginning level. The emphasis of this course is to help you to begin developing a collection of short stories or a novel-in-stories. Through a combination of workshops, exercises, and craft discussions, we will explore how stories function individually and how they can come together in a collection to form a coherent and unified story or experience.

  • 002- TR 2:00-3:25 p.m.                  Instructor: MUÑOZ

This is the intermediate course in the undergraduate fiction-writing sequence. Same method of instruction and enrollment priority as 210 and class size is limited to 20. Creative Writing majors and minors will be given priority.

ENGL 309—Poetry Writing                                                                                                              CORE (CRTV)

  • 001-W 12:30-3:00 p.m.     Instructor: BRIANTE

How do contemporary poets do what they do? We will look for examples across a range of literary periods and styles. Then we will imitate, respond and innovate from published models to produce our own. We will consider how the poem asks the author to cultivate a particular attention to the world and to experience. We will experiment with a wide archive of sources and inspiration for our poems. Over the course of the semester, we will review the most important characteristics of poetry (rhyme, rhythm, repetition, image, etc.). Finally, we will work through the various stages of creation and revision with aim of becoming better readers and editors of our own as well as our classmates’ work.

ENGL 310  Studies in Genre: “A History of Walking in Literature and Practice”                    ELECTIVE (CRTV/ENGL)

  • 001-TR 9:30-10:45 a.m.  Instructor: SKIBSRUD                                                             (Modern/Contemporary Lit)

This course analyses different modes and applications of walking within a range of literary texts. Beginning with selections from Rousseau's Reveries of the Solitary Walker and Rebecca Solnit’s A Field Guide to Getting Lost, we will explore the ways in which walking has been—and continues to be—used by writers and thinkers as both a discursive trope and as part of a creative practice. This course will take us outdoors. It will integrate walking with a rigorous reading list, including selections from Wordsworth, Basho, and Walter Benjamin’s Arcades Project, Alex la Guma’s “A Walk in the Night,” Werner Herzog’s Of Walking in Ice, Garnett Cadogan’s “Black and Blue,” and W.G. Sebald’s The Rings of Saturn. It will require active participation in class discussion and an independent study project.

ENGL 310  Studies in Genre                                                                                                                                                      ELECTIVE (CRTV/ENGL)

  • 002-TR 2:00-3:15 p.m. (soon to be added)      Instructor: IROMUANYA                                                             (Modern/Contemporary Lit)

The origin and evolution of genres in literature, rhetoric, and nonfiction prose, among others.

ENGL 373A—British and American Literature: Beowulf to 1660                              CORE (ENGL/CRTV)

  • 001 MW 3:30-4:45 p.m.   Instructor: PETTEY

[This course surveys works of British Literature from Beowulf to Paradise Lost in their historical context. Lecture/discussion will aim to generate deep understanding of selected readings-what their earliest audiences might have taken from them and how they can continue to speak to us today.]

This course will survey major canonical literary texts from the English Middle Ages through the Renaissance and the Revolutionary 17th century, among them: Beowulf; Sir Gawain and the Green Knight; selections from Geoffrey Chaucer’s Canterbury Tales; Book I of Edmund Spenser’s The Faerie Queene; and John Milton’s Paradise Lost.  We will also examine medieval lyrics, the Renaissance sonnet tradition (Henry Howard, Lady Mary Wroth, Sir Philip Sidney, and William Shakespeare), and the Metaphysical Poets (John Donne, Katherine Philips, George Herbert, Henry Vaughan, and Andrew Marvell).  We will give attention to literary, historical, and religious contexts for the texts while exploring period texts that review the developments of the English language from Anglo-Saxon through Middle English to Early Modern English.   Students will demonstrate close reading and analytical skills through written work consisting of five significant quizzes, two hour examinations (Medieval literature; Renaissance literature), and a comprehensive final examination.

Since this course is foundational and required for all English majors, students will need to know the material very well.  Expectations for students will be to identify passages from the works and to analyze them through close reading that illuminates their meanings, and to read all texts carefully for structure, genre conventions, and thematic content.  Students will need to keep detailed notes on all texts for this class and to participate regularly in class discussion.

  • 002 TR 9:30-10:45 a.m.   Instructor: DAHOOD

English 373A introduces students to major writers and genres from the Old English (Anglo-Saxon) period to the middle of the seventeenth century. By the end of the course students will have had opportunity to master ways of examining and thinking profitably about literary works through close engagement with the readings. The chronological arrangement of assignments will contribute to a sense of the development of English literature and the historical context associated with each work.

We begin with the Old English epic Beowulf and end with the seventeenth-century epic Paradise Lost. We will place works within their historical context. Lecture/discussion will aim to generate deep understanding of the selected readings—how their earliest audiences might have understood them and how we might engage with them today.

The course meets twice a week. Classes will consist of lecture and discussion. I will assign three short papers, at least ten short quizzes, and a final examination.

  • 003 MWF 10:00-10:50 a.m.   Instructor: SCRUGGS

There is an old joke that an English literature course of this kind should begin with Beowulf and end with Virginia Woolf–which is not a bad idea if we had about five years to read those wonderful texts between wulf and Woolf. But, alas, to quote an author we will be reading, Andrew Marvell, we have neither “world enough and time,” so we will have to satisfy ourselves with only a few centuries, beginning with a text written in Old English around 750 A.D. and ending with one of the great epic poems in the English language, Paradise Lost, published in 1667.  I hope to convince you that Beowulf, though less complex than Milton’s poem, is a great work of literature.  Between these two texts, we will read works by the Gawain poet (Gawain and the Green Knight), Christopher Marlowe, Andrew Marvell, William Shakespeare and many other giants of the Early Modern period (the 16th and 17th centuries).

ENGL 373B—British & American Literature: Restoration - 19th Century               CORE (ENGL/CRTV)

  • 001 TR 9:30-10:45 a.m.   Instructor: BROWN, Stephanie
  • 002 TR 3:00-4:15 p.m.     Instructor: BROWN, Stephanie

This course will attempt to give students a sense of the depth and breadth of literature produced in English between 1660 and 1900, focusing on the development of literary genres and forms during this period through the work of writers from England, Ireland, the United States, and Trinidad. The course aims to give students a foundation for further inquiry into these texts in the English curriculum in future courses. Assignments will include short papers, a paper/project that allows students to develop an extended reflection on one element of the course materials, and a final exam.

ENGL 380—Literary Analysis                                                                                              CORE (ENGL/CRTV)

  • 001 MW 4:30-5:45 p.m.   Instructor: LEMPERT


As a spur to literary investigation, our course will focus on ethically distasteful main characters. Why do anti-heroes have leading roles -- what is the value of the downright despicable protagonist? Reading drama, poetry, short stories, and novels, we will contrast characters who repulse us with characters we trust and admire. That literature expands our empathetic repertoires, as we come to care for fictional others, has been named one of its virtues -- but what are the benefits of recoiling from certain figures? From Euripides' Medea to Milton's Satan, we will also address the attraction of the villain. In Poe's short stories and Browning's poetry, we will investigate "mad" or "monstrous" psychologies. In twentieth- and twenty-first-century fiction we'll explore characters' moral apathy, moral complicity, and moral depravity. This course will provide you with the skills to analyze literary works across genres and periods. We will concentrate on the art of "close reading" -- mining lines and passages for their rich implications. Each student will give an in-class presentation; there will be short weekly writing assignments and three short essays.

  • 002 TR 12:30-1:45 p.m.   Instructor: SKIBSRUD

This course will introduce students to literary analysis through a range of genres and texts. In the first part of the class we will focus particularly on short short fiction, or “flash” fiction, as a way of honing our analytical skills. We will also be looking at a variety of contemporary poetry, theater, a novel and a film adaptation. Participation in class discussion and activities and attendance at literary and theater events in the community will be required. 

  • 003 TR 11:00-12:15 p.m.     Instructor: MASON

Introduction to the various modes, techniques, and terminology of practical criticism.

  • 004 TR 9:30-10:45 a.m.   Instructor: HURH

This course teaches the skill of literary analysis, with an emphasis on close reading, through the rigorous study of poetry, short fiction, and novels.  The themes for the texts are the pastoral and the rural, subjects that roughly concern the construction of “nature” as beauty on one hand, and explore the relation of individual identity to communal society on the other.    Some of the writers we will read are: Flannery O’Connor, William Faulkner, Sherwood Anderson, Edgar Lee Masters, Christopher Marlowe, C. Day Lewis, and Emily Dickinson.  Students will learn both basic and advanced terms for the study of literature, will be introduced to some key concepts in literary theory, and will be prepared, through a demanding course of analytical writing and revision, for the raised expectations of precision, originality, organization, and logic that they will encounter in the upper-division courses.


This is a course in “close reading.” The reading assignments will be short, to allow us to pay close attention to individual texts and individual passages. We’ll read many poems some short stories, and perhaps one novel, with an eye toward mastering the close reading techniques crucial to the sort of literary analysis we practice in upper-division literature courses (and beyond). For this online course, regular participation in discussion boards will be a major course requirement. Students will also write roughly 7-8 short papers (1-2 pp. each), and 2 longer papers (3-5 pp. each). There are no exams.

Questions? Please email the instructor at nathanso@email.arizona.edu

ENGL 389—Literary Analysis-Introduction to Publishing

  • 001 TR 12:30-1:45 p.m.   Instructor: PEARMAIN

This course will provide an overview of the Children’s Literature literary and academic publishing industry. It is designed to provide aspiring editors and writers basic knowledge of the field including research and discussion of: editing, querying, publishing trends, agents & agenting, submissions, digital publishing, scholarly journals, and publishing houses. Students will read and gain an understanding of the genres of Children’s Literature (short stories, picture books, fiction, non-fiction) as well as the scholarly study and academic writing on these works. Some coursework will tie in to the online publication Pine Reads Review.

ENGL 396A—Junior Proseminar                                                                                                 CORE (ENGL)

  • 001 TR 12:30-1:45 p.m.  Instructor: RAVAL

This course will deal with several major colonial and postcolonial novels, focusing on issues at stake in contemporary discussions of these works. Among the novelists to be explored are Conrad (Heart of Darkness), Forster (A Passage to India), Achebe (Things Fall Apart), Kincaid (Lucy), Naipaul (A Bend in the River), Coetzee (Disgrace), and Bharati Mukherjee (Jasmine). Nearly all the novels are quite short and are chosen to focus on larger cultural and political contexts and problems they explore. We will also read some portions of Frantz Fanon’s Black Skin, White Masks and Edward Said’s Orientalism and a selection of some short but important theoretical essays. The goal will be to examine these novels from the perspective of various major postcolonial concepts about identity, representation, nationalism, and globalization among a host of others. Each student will write ONE 1- or 2-page, single space commentary on an important aspect of each novel, a term paper, one class presentation, a mid-term exam, and a final exam.

  • 002 TR 3:30-4:45 p.m. Instructor: WHITE                             

How do writers, usually without backgrounds in science or history, research questions of environment? The first task is to narrow the definition of "environment" to something workable. Rather than think of the environment as an abstraction from which and around which there are "issues," we will be extremely literal and look at writers who combine personal narrative and research to write about the body and/in place. The body is an environment and the body is always in a place: that is, environment within environment. In particular we will focus on something called the braided essay, a contemporary form in which creative writers combine personal narratives, historical material and place/body research to complicate the often artificial boundaries among these elements. We will read work by such writers as Jeff Porter, Reg Saner and Priscilla Long, among others, as we see research in the service of literary art. We will learn how writers deal with research methods such as assimilating highly technical scientific information, utilizing archival materials, interviewing experts and conducting site visits to built and non-built environments. We will learn by doing: You will write your own braided essay, one that will involve adopting a particular place in the Tucson area, visiting it frequently, journaling about it, researching its natural and human history, connecting such research to a personal story, etc. The essay will be long and ambitious. Some familiarity with creative writing will be helpful but not necessary. Plan for introduction (or reintroduction) to such craft basics as scene-setting, figurative language, set pieces and scale moves. Additional requirements will include class presentations, writing assignments preparatory to the final braided essay and a place/natural history journal. We will have some required excursions to, for example, the Desert Museum that may take place outside of class meeting times.

ENGL 307—Business Writing                                                                ELECTIVE (ENGL)-CORE PTW CERTIFICATE

This course emphasizes communication in professional contexts. You will learn strategies for and get practice in using writing and other design elements to communicate effectively and ethically for professional audiences. This course is part of the Professional and Technical Writing Certificate, and at the end of the course you will build a portfolio that you can draw on for the certificate completion portfolio. This course also uses the same textbook bundle as ENGL 313 and 308 (also part of the certificate), which means you can complete the certificate using just one textbook bundle.

  Please check the available courses as your Priority Registration week approaches.

ENGL 308—Technical Writing                                                                 ELECTIVE (ENGL)-CORE PTW CERTIFICATE

This course emphasizes analyzing and communicating technical knowledge. You will learn strategies for and get practice in researching, documenting, and reporting technical information effectively and ethically for specific audiences. This course is part of the Professional and Technical Writing Certificate, and at the end of the course you will build a portfolio that you can draw on for the certificate completion portfolio. This course also uses the same textbook bundle as ENGL 313 and 307 (also part of the certificate), which means you can complete the certificate using just one textbook bundle.

              Please check the available courses as your Priority Registration week approaches.

ENGL 313—Intro to Professional & Technical Writing                                                       ELECTIVE (ENGL)

This course introduces key concepts and practices of professional and technical writing. You will learn strategies for and get practice in writing effectively for specific audiences and contexts. This course is part of the Professional and Technical Writing Certificate, and at the end of the course you will build a portfolio that you can draw on for the certificate completion portfolio. This course also uses the same textbook bundle as ENGL 307 and 308 (also part of the certificate), which means you can complete the certificate using just one textbook bundle.

  • 001  TR 2:00 PM-3:15 PM                                                                            Instructor: Harms
  • 110  **FULL ONLINE: SEVEN WEEK-Two Session**                              Instructor: Gierdowski

ENGL 340—Topics in Professional & Technical Writing                                                  ELECTIVE (ENGL)                                                                                                     

English 340 provides junior- and senior-level students the opportunity to develop their use of rhetorical strategies and communications technologies appropriate to technical and professional writing situations. This course is a writing intensive course where students will plan, create, and user-test a range of individual and collaborative projects including, but not limited to, professional documentation, memos, letters, proposals, reports, and other technical and professional genres. Project management, documentation plans, and usability testing are just some of the topics studied in English 340. Through client-based projects, simulations, and/or case studies, students will analyze and reflect upon the role of communication theories practices in a range of technical settings. Students can expect to engage in online reading discussions, daily assignments, on- and off-campus research, technology use, and oral reports.

  • 002     TR  11:00-12:15                                                                       Instructor: Ramirez

ENGL 494P—Portfolios in Professional & Technical Writing                                     ELECTIVE (ENGL)

Students will explore the theories and practices of professional and academic portfolios while simultaneously designing and developing an adaptive identity and a professional persona for post-graduate settings. Students will synthesize work from past and present courses and experiences. They will make complex composition decisions about content, design, structure, and media of their portfolios in connection with identifiable elements of a given rhetorical situation. Students will discuss and apply legal and ethical issues related to portfolio development and publication of 21st century digital identities.

  • 110  **FULL ONLINE: SEVEN WEEK-Two Session**                              Instructor: Staff

ENGL 401—Advanced Creative Writing: Nonfiction Writing                                                    CORE (CRTV) 

  • 001 W 3:15-5:45 p.m.  Instructor: COKINOS

This advanced workshop in literary nonfiction will challenge its participants to blend research and personal narrative in a single, ambitious, "braided" essay modeled on the work of such writers as Priscilla Long and Reg Saner.  The approach will be step-by-step, resulting in an essay of some 20 pages or more.  You will learn new research skills, lyrical approaches to factual material and historical scene reconstruction.

ENGL 404—Advanced Fiction Writing                                                                                          CORE (CRTV)

  • 001 M 12:30-3:00 p.m.  Instructor: SHEEHAN
  • 002 T 3:15-5:45 p.m.     Instructor: SHEEHAN

The Advanced Fiction Workshop (ENG 404) offers an opportunity to write and think creatively, learn about the craft of fiction writing, incorporate rewriting into the writing process, and develop as an articulate and generous critic of fiction. Your time will be divided between writing and rewriting your own work, reading and commenting on peer manuscripts, and reading and discussing (mostly) contemporary fiction. Emphasis throughout the semester will be on participation and building a community of literary peers.

ENGL 409—Advanced Poetry Writing                                                                                           CORE (CRTV)

  • 001 R 3:15-5:45 p.m.  Instructor: MATUK

This is the advanced course in the undergraduate poetry-writing sequence. Our class time will mostly be divided between close reading seminars and studio time in which we draft out of a range of prompts and exercises. We may transition to occasional whole-group critiques if appropriate. We will read contemporary and canonical poets across cultures and write brief craft analyses of their work. While this course is about writing better poems, it is ultimately about learning new ways of seeing, feeling, thinking, and being; it’s about expanding your tool kit for self-invention and for world-invention. Students will conduct critique sessions in small groups via D2L. I encourage students to take greater agency in framing the critical feedback they receive in workshop by choosing from a menu of workshop formats. Please schedule one-on-one conferences to get critical feedback from me. Students may present longer works for discussion and may work toward culminating projects such as chapbook manuscripts and longer poem sequences. Class size is limited to 15 students. Creative Writing majors and minors will be given priority.

ENGL 426—Medieval English Literature                                                                ELECTIVE (ENGL/CRTV)

  • 001 TR 12:30-1:45 p.m.  Instructor:  DAHOOD        

 The course covers some of the most engaging literature of the Middle English period by writers other than Chaucer. Readings will include selections, mostly translated into Modern English, from Ancrene Riwle, lyrics, Sir Gawain and the Green Knight, Piers Plowman, cycle and morality plays, Arthurian romance, and perhaps others.

The course meets twice a week. Classes will consist of lecture and discussion. I will assign three short papers, at least ten short quizzes, and a final examination.                                                                                

ENGL 431A—Shakespeare                                                                                ENGL CORE /CRTV ELECTIVE

  • 001 TR 11:00 a.m.-12:15 p.m.  Instructor: KIEFER

During the first half of his career Shakespeare wrote most of his romantic comedies, most of his history plays, and several of his best tragedies, including Romeo and Juliet and Hamlet. We shall read a selection of these plays, paying close attention to language, character, and dramatic action. We shall also endeavor to keep in mind that Shakespeare was himself an actor and that his plays came to life on a stage. We’ll demystify the plays and make them accessible to modern readers. Two exams during the course, a final, and a term paper.

ENGL 431B—Shakespeare                                                                                ENGL CORE /CRTV ELECTIVE

  • 001 TR 12:30-1:45 p.m.  Instructor: STAFF

Ten comedies, tragedies and tragicomedies from the period 1601-1613.

ENGL 443—Mex-Am Lit in English                                                                            ELECTIVE (ENGL/CRTV)

  • 101  **Fully Online     Instructor: BACA

This seminar examines the production of U.S. Mexican American literature with a focus on how English-language texts critique dominant power structures and contribute to the construction of Mexican American subjectivity. Mexican American literature is a dynamic aesthetic intervention that structures our guiding inquiries: What is effective Mexican American literary and aesthetic expression? What are the literary possibilities as well as limits of mestizaje, the fusion and fissure of Mesoamerican and Spanish cultures? When might a “defense” of these literatures become romanticism and tokenism? Because Mexican American written expression easily weaves between Western configurations such as fiction, poetry, autobiography, pictography and art, what counts as Mexican American literature? How does Mexican American literature respond to Western presumptions of universal hegemony over literary production, cultural meaning, and historical narrative?

ENGLISH 455—Introduction to Teaching English as a Second Language                  LANGUAGE EMPHASIS

  • 001 TR 9:30-10:45 a.m.  Instructor: TARDY

The course will provide a general overview of teaching English as a second language, covering current theories, methodologies, and procedures in the field. Students will participate in mock lessons develop lessons and materials, while considering various contexts of English learning and teaching around the world. The course is one of the four courses comprising the Teaching English as a Global Language Certificate.

ENGL 470— Literature and Philosophers: Nietzsche—Major Works                 ELECTIVE (ENGL/CRTV)

  • 001 MWF 12:00-12:50 p.m.  Instructor: SHERRY                                        (Modern/Contemporary Lit)                                                                                                                                                                                                                                                                 

This course will be a study in the major works of Nietzsche beginning with "The Birth of Tragedy."  The reading list will include "The Genealogy of Morals," "Beyond Good and Evil" and "Thus Spake Zarathustra."  Three papers and a take-home final will be required.

ENGL 472                                                                                                                      ELECTIVE (ENGL/CRTV)

  • 001 TR 3:30-4:45 p.m.  Instructor: RAVAL                                              (Modern/Contemporary Lit)

This course will examine some of the masterpieces of American, British, and Continental fiction, with particular attention to the development of characteristically modern techniques and themes and the cultural and theoretical forces that gave rise to those techniques and themes. We will explore how the thought of Darwin, Marx, Nietzsche, and Freud gave rise to radically new ideas about the mind and society. Six or seven novels and some short stories will be chosen from the works of the following authors: Dostoevsky, Kafka, Sartre, Camus, Conrad, Joyce, Woolf, and Hemingway. We will be moving back and forth between primary texts to secondary ones (theories of modernism, theories of the modern, theories of form, and theories of gender, and so to their implications for form and content). The course will analyze, through a combination of lecture and discussion, the technical and formal innovations deployed in a given text, the intellectual and historical contexts and ideologies that make possible these innovations, the world-views the text affirms or critiques, and the implications of the stances it suggests for that society.

Requirements: quizzes, class-participation, a mid-term exam, a term paper, and a final exam.

ENGL/AIS 477—Studies of Native American Literature                                    ELECTIVE (ENGL/CRTV)

  • 001 TR 2:00-3:15 p.m.  Instructor: FATZINGER                                                                                                       (Modern/Contemporary Lit)

In a foundational Supreme Court decision, Cherokee Nation v. Georgia (1831), Chief Justice John Marshall described American Indian communities as “domestic dependent nations.”  Undoing this strange declaration and resisting colonial limitations on their sovereign rights is the foremost concern of Native nations today.    The question we will pursue in this course is how contemporary Native American fiction relates to this project, how it offers literal or figurative, explicit or implicit resistance to colonialism.  Six short papers.   Required texts: N. Scott Momaday, House Made of Dawn; Leslie Marmon Silko, Almanac of the Dead; Louise Erdrich, Tracks; Gerald Vizenor, The Heirs of Columbus; Thomas King, Green Grass, Running Water.    Supplemental texts: Robert F. Berkhofer, Jr., The White Man’s Indian; John Purdy and James Ruppert, eds., Nothing But the Truth.

ENGL 484B—Twentieth-Century American Novel                                                         ELECTIVE (ENGL/CRTV)

  • 001 TR 12:30-1:45 p.m.  Instructor: SELISKER                                             (Modern/Contemporary Lit)    

In this course, we’ll consider the career of the novel in the U.S. over the course of the past eleven decades. This era saw a staggering number of changes in the U.S.: the country’s shifting geopolitical roles, new media and communications technologies, cultural revolutions and radical movements, and institutional transformations in the production and study of literature. We’ll approach the ambitions of novelists in this period of the “great American novel” in two ways. First, we’ll study the country and cultural moments these novelists wanted to speak to and for, through brief lectures and occasional supplemental readings. Second, we’ll consider how the novels themselves document the changing cultural roles novelists have taken on for themselves, as chroniclers of injustice, explorers of the psyche, playful contrarians, wild-eyed prophets, and more. Likely works include novels by Theodore Dreiser, Nella Larsen, William Faulkner, Vladimir Nabokov, Philip K. Dick, Leslie Marmon Silko, Toni Morrison, Denis Johnson, and a twenty-first century novel students will select. Requirements include several papers, frequent but very brief written responses to the readings, and a take-home, open-book final exam.

ENGL 486—Topics in American Literature: The Great War (1914-18) and Its Impact on American Literature     

001 MWF 1:00-1:50 p.m.                      Instructor: SCRUGGS                                   ELECTIVE (ENGL/CRTV)Modern/Contemporary Lit)

The historian George Kennan called The Great War (1914-1918) “the seminal catastrophe of the Twentieth Century.”  The war triggered both the Russian Revolution (1917) and the Irish Rebellion (1916), and ended by toppling monarchies and destroying empires.  But perhaps the “Shock of the New” that came as the biggest surprise was the horror of modern warfare: machine guns, mustard gas, tanks, airplanes and guns so monstrous that they blew people to bits. The phrase “missing in action” first appeared in that war, as did the phrase “shell shock,” themes that would not go unnoticed by contemporary writers.

Although the United States did not enter the war until late (1917) and its military forces were “over there” for only eighteen months, American society underwent a monumental transformation. At home, the war created the “Security State” (surveillance, suppression of dissent, censorship of the press, and the creation of the Bureau of Investigation–the future FBI).  The failure of Wilson’s “Fourteenth Points” at the Treaty of Versailles (1919), the profits made by Big Business during the war, and the rise of organized crime in the 1920s (due in part to Prohibition) led to a new kind of literature, ranging from pulp fiction to radical experimentations with form and language. This course will focus on American fiction that focused on the Great War, as well as the “aftershocks”–the literature of the 1920s that reflect the impact of the war on both the individual and society.

ENGL 488A—American Poetry: Nineteenth Century                                                ELECTIVE (ENGL/CRTV)

  • 001 TR11:00 a.m.-12:15 p.m.  Instructor: NATHANSON                             (Modern/Contemporary Lit)

Modern and contemporary American poets may well be belated romantics; our nineteenth-century romantic precursors may have defined the terms and voiced the ambitions that shape the poetry being written even today.  Should we read modern and contemporary American poetry as a continuing celebration--however revisionary--of romantic origins?  In English 488a we will explore these issues through sustained reading of the major American romantic poets--Whitman and Dickinson—looking as well at Poe’s ambitious and strange poetry and Emerson's influential essays.  We’ll be concerned with notions of word magic, Adamic language, and language’s supposed cosmogonic power, as well as with the skeptical interrogation of these categories.  As time allows, we may also consider some of the following works: traditional Native American ritual materials; seventeenth century Anglo-American poetry (Taylor, Bradstreet); "non-canonical" nineteenth century poetries; transitional figures such as E. A. Robinson and Trumbull Stickney; early modernist poetry. Principal requirements: three short papers (3-5 pp. each), or two short papers plus a journal of imitations; a final exam

ENGL 496A—Studies in Authors, Periods, Genres and Themes                                            CORE (ENGL)

  • 001 TR 9:30-10:45 a.m.  Instructor: JENKINS

We will explore the history of the book from scroll to web: from the ancient world to the present, examining book technology and reading culture as they have shaped book production in both form and content. In addition to tracing the Western tradition in textual production, some attention will be devoted to global book technologies and writing systems from Asia, the Islamic world, Mesoamerica, and indigenous cultures. Other topics may include the concept of authorship; copyright; censorship; the economics of book production and distribution by small and university presses; the growth of public libraries; reading and readership; editorial theory and practice. We will conclude with the impact of print culture as it has adapted to digital platforms and produced new forms, genres, and means of access. Students who are considering careers in publishing, library and archives, or graduate study in English, History, Library and Information Science or Cultural Studies may find this course useful.

Students in this Senior seminar will identify, in consultation with me, an aspect of book history upon which to base a term project or seminar paper. Field trips to Special Collections, the Letterpress Lab, and the Poetry Center will occur during class meeting times. This course requires substantive reading and writing.

  • 002 TR 2:00-3:15 p.m.  Instructor: KIEFER

A Space Odyssey

Space: the final frontier. These are the voyages of the starship Enterprise. Its continuing mission: to explore new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before.

We shall take as our starting point the words spoken by Captain Jean-Luc Picard in Star Trek. His word “space” has an aura of the unknown and uncharted. The word signals adventure and wonder. Space can prove harrowing as well. Just think how the movie Gravity imagines space: empty, cold, forbidding.

Closer to home, Shakespeare’s contemporaries grappled with space too. When they embarked on a long ocean voyage or a journey through a dense forest, they imagined space as dismaying, confusing, and potentially threatening. That is why they worked so hard to map the world. When Galileo turned his telescope on the sky, people learned that the earth was not the center of the universe but simply a body cruising through space around the sun. The discovery was stunning. John Donne registers the shock when he says, “New philosophy [science] calls all in doubt, / the element of fire is quite put out; / the sun is lost, and the earth . . . / ‘Tis all in pieces, all coherence gone.” John Milton in Paradise Lost captures the disorientation of vast distance when Satan looks from hell to earth and finds a “wild abyss.”

Clearly, the expanses of space unnerved Shakespeare’s culture. Perhaps that is why people were so anxious to contain and shape the world around them, whether indoors or outdoors. To accomplish this goal, they employed the arts of architecture, painting, garden design, and poetry.

This interdisciplinary seminar will look at the literal, literary, and artistic handling of space. How have people organized and divided space? What cultural significance does the treatment of space have? What are the implications for an understanding of the world around us? The course is not chiefly about space as understood by scientists or mathematicians. Instead, we will focus on the artistic expression of Shakespeare’s culture, especially as it manifests itself in buildings, paintings, the landscape around stately homes, and the arrangement of lyrics in a collection of poems.

  • 003/004 TR 3:30-4:45 p.m.   Instructor: MELILLO

**Section 003 reserved for Honors College students ONLY (who are also in English Honors)**

**Section 004 reserved for English Honors students ONLY**

Sound, Sense, and Song

In this class, we will look to contemporary connections between the three terms of the title: sound, sense, and song. What happens when poets and lyricists combine sound and sense? How do contemporary poets rethink how we sense and make sense of sound? How do they make poetry a sound art? We will read and listen to a wide range of verse:  poetry that metaphorically alludes to song, poetry that explicitly aspires to the condition of song, poems set to music by composers, song lyrics, rap, and manipulations of voice that will seem beyond categorization. So, the organizers of sound that we will be studying include Sappho, Emily Dickinson, Ezra Pound, Arnold Schoenberg, Marianne Moore, W.B. Yeats, Langston Hughes, John Cage, Robert Creeley, Henri Chopin, William Burroughs, Clark Coolidge, Eileen Myles, Charles Bernstein, Bernadette Mayer, Patti Smith, Sonic Youth, Public Enemy, Grimes, Kendrick Lamar, Tracie Morris, Jennifer Scappettone, Jenny Hval, and many more. In addition to this work, we will also read a range of theoretical texts that take up questions of textuality, aurality, and the relationships between sound and meaning. Students will choose their own research project, to be conducted in parallel with our readings. These projects can be related to any question on sound and literature (not only contemporary ones) that students may be interested in exploring. Ultimately, students will learn how to share their work with a wider community of curious and engaged readers as well as fellow scholars. On the way, they will learn how to conduct searches for primary and secondary sources, how to describe and summarize their findings, how to construct bibliographies and discographies, and, ultimately, how to write a longer essay that combines source work and critical argument.

  • 005 TR 3:30-4:45 p.m.  Instructor: COOPER-ALARCÓN

American Literature: Books in Dialogue

In this course, we will read and discuss pairings of major American literary works that overlap in terms of issues, ideas, and concepts. The reading list will include stories by Brett Harte, Jack London, and Ernest Hemingway; Jacques Poulin’s novel Volkswagen Blues and Cormac McCarthy’s novel Blood Meridian; Bharati Mukherjee’s novel Jasmine and Julia Alvarez’s novel Yo!; and Art Spiegelman’s graphic novel Maus and Luis Valdez’s play, Zoot Suit.  This course requires a significant amount of reading each week.  There will also be a midterm and final exam, and several medium-length papers required.


College of Social and Behavioral Sciences