English Department Course Description Booklet - Spring 2020
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
dfdg
English Department
Course Description
Booklet
Spring 2020Department of English
D
Spring 2020 Course Descriptions
The courses outlined in this booklet are subject to change.
For the most up-to-date list of classes, days, times, sections and rooms, please refer to the class schedule through My Sac State.
NOTE: English 1X, 5, 5M, 10, 10M, 11, 11M, 15, 20, 20M, 60, 60M, 85, 86, 87, 109M, and 109W cannot be counted toward the
U U
English Major, English Minor, or the English Single Subject Waiver.
1X: College Composition Tutorial - Staff Prerequisites: ENGL 10
Offers supplemental instruction in elements of composition and Requirements: A minimum of 5,000 words to be completed in ENGL
assists students in mastering the writing process with special emphasis on 10 and ENGL 11.
planning and revising essays. Instruction takes place both in traditional G.E.: Fulfills area A2 of the GE Requirements.
classroom setting and in small group and individual tutorials. Students
enrolled in this tutorial must also be coenrolled in a first-year composition
course as the focus will be drafting and revising the work done for the 11M: Academic Literacies II-ML - Staff
primary writing course. Continued study (following ENGL 10M) to help multilingual
Corequisite: ENGL 5 or ENGL 5M or ENGL10 or ENGL 10M or ENGL students use reading, writing discussion, and research for discovery,
11 or ENGL 11M intellectual curiosity, and personal academic growth - students will work in
Graded: Credit / No Credit. Units: 1.0 collaborative groups to share, critique, and revise their reading and writing.
Note: May be taken for workload credit toward establishing Students will engage in reading and writing as communal and diverse
full-time enrollment status, but is not applicable to the processes; read and write effectively in and beyond the university; develop
baccalaureate degree. a metacognitive understanding of their reading, writing, and thinking
processes; and understand that everyone develops and uses multiple
discourses.
5: Accelerated Academic Literacies - Staff Prerequisites: ENGL 10M
Intensive, semester-long course to help students use reading, writing, Requirements: A minimum of 5,000 words to be completed in ENGL
discussion, and research for discovery, intellectual curiosity, and personal 10M and ENGL 11M.
academic growth - students will work in collaborative groups to share, G.E.: Fulfills area A2 of the GE Requirements.
critique, and revise their reading and writing. Students will engage in
reading and writing as communal and diverse processes; read and write
effectively in and beyond the university; develop metacognitive 16: Structure of English - Komiyama
understandings of their reading, writing, and thinking processes; and TR 4:30-5:45pm
understand that everyone develops and uses multiple discourses. This course will introduce the terminology, concepts, and rules
Requirements: Must write a minimum of 5000 words. of traditional grammar, usage, and punctuation. In addition to these foci,
G.E.: Fulfills area A2 of the GE requirements. students will apply them to analyze authentic text (such as picture books).
Students will be encouraged to use their knowledge gained from the course
materials to critically evaluate their own writing as well.
Presentation: Lecture-discussion
5M: Accelerated Academic Literacies for Multilingual Writers - Staff
Requirements: Two mid-term exams; final exam; two projects; online
Intensive, semester-long course to help multilingual students use reading,
quizzes;
writing, discussion, and research for discovery, intellectual curiosity, and
Text: Altenberg, E. P. & Vago, R. M. (2010). English
personal academic growth - students will work in collaborative groups to
Grammar: Understanding the Basics. Cambridge
share, critique, and revise their reading and writing. Students will engage in
University Press..
reading and writing as communal and diverse processes; read and write
effectively in and beyond the university; develop metacognitive
understandings of their reading, writing, and thinking processes; and
20: College Composition II - Staff
understand that everyone develops and uses multiple discourses. An advanced writing course that builds upon the critical thinking,
Requirements: Must write minimum of 5000 words. reading, and writing processes introduced in English 5 or 10/11. This class
G.E.: Fulfills area A2 of the GE Requirements. emphasizes rhetorical awareness by exploring reading and writing within
diverse academic contexts with a focus on the situational nature of the
standards, values, habits, conventions, and products of composition.
Students will research and analyze different disciplinary genres, purposes,
11: Academic Literacies II - Staff and audiences with the goals of understanding how to appropriately shape
Continued study (following ENGL 10) to help students use their writing for different readers and demonstrating this understanding
reading, writing, discussion, and research for discovery, intellectual through various written products.
curiosity, and personal academic growth - students will work in Prerequisite: 30 units and a grade of C- or better in ENGL 5, 10/11,
collaborative groups to share, critique, and revise their reading and writing. or equivalent.
Students will engage in reading and writing as communal and diverse Requirement: A minimum of 5,000 words.
processes: read and write effectively in and beyond the university; develop G.E.: Fulfills the second semester composition requirement.
a metacognitive understanding of their reading, writing, and thinking (English majors are exempt from the GE requirement;
processes; and understand that everyone develops and uses multiple majors take English 120A instead.)
discourses.20M: College Composition II (Multilingual) - Staff 50B: Introduction to US Literature: 1865-Present - Ghosal
An advanced writing course for multilingual students that builds MW 12:00-1:15pm
upon the critical thinking, reading, and writing processes introduced in In this course we will examine the trajectory of American
English 5, 5M, 10/11, or 10M/11M. This class emphasizes rhetorical literature over a century and a half, from the aftermath of the Civil War to
awareness by exploring reading and writing within diverse academic the early twenty-first century. We will consider fiction, nonfiction, poetry,
contexts with a focus on the situational nature of the standards, values, and drama that engage historical, political, and cultural phenomena such as
habits, conventions, and products of composition. Students will research Reconstruction, race and regionalism, immigration and internal migration,
and analyze different disciplinary genres, purposes, and audiences with the the proliferation of mass media and technological changes.
goals of understanding how to appropriately shape their writing for different Given that we will be surveying texts written over a fairly long
readers and demonstrating this understanding through various written period of literary history, it will be necessary to identify focal points
products. connecting the literary responses to broader socio-cultural phenomena. To
Prerequisite: 30 units and a grade of C- or better in ENGL 5, 5M, that end, we will pay attention to innovations in literary forms, emergence
10/11, 10M/11M, or equivalent. of new literary trends, resurgence of realism and its variants, modernist and
Requirement: A minimum of 5,000 words. postmodernist experiments.
G.E.: Fulfills the second semester composition requirement. You will be introduced to a range of canonical and non-canonical
(English majors are exempt from the GE requirement.; American literary texts, learn to appreciate and critique diverse aesthetic
majors take English 120A instead) practices, develop capacities for interpretation, critical thinking, and
writing.
Presentation: Lecture-Discussion
30A: Introduction to Creative Writing - McKinney Requirements: Short analytic papers, pop quizzes, and one final
MWF 9:00-9:50am [WILL OPEN FOR REG. ON 12/3/19] multi-text quiz.
This course is designed for students who want to learn the Texts: Will include novels and novellas such as Henry
elements of writing short fiction and poetry. Students will learn a variety of James’s Daisy Miller (1879), Mark Twain’s The
styles for writing their own imaginary worlds into being. We will focus on Adventures of Huckleberry Finn (1884), John Fante’s
sound, rhythm, voice, image, character, scene, plot, setting, story, and Ask the Dust (1939), Ana Castillo’s The Mixquiahuala
revision. Students will be introduced to peer critiquing known as Letters (1986), Aleksander Hemon’s The Lazarus
“workshop.” This course also serves as a prerequisite for all upper-division Project (2008); along with poems by Emily Dickinson,
Creative Writing courses. William Carlos Williams, Langston Hughes, Susan
Presentation: Lecture-Discussion. Workshop. Howe, Claudia Rankine; short stories by Ernest
Texts: Memory Care, Matthew Chronister (poetry), not in Hemingway, James Baldwin, Eudora Welty, Toni
bookstore. Stay tuned for purchasing details. Morrison, Jhumpa Lahiri; and Suzanne Lori Parks’s
Making Shapely Fiction, Jerome Stern The America Play (1995).
Flash Fiction: 72 Very Short Stories, Thomas, G.E.: Fulfills area C2 (Humanities) of the GE Requirements.
Thomas, and Hazuka, Eds.
60: Reading for Speed & Efficiency - Staff
40B: British Literature II Cope Strategies and techniques to promote greater reading efficiency
MW 1:30-2:45pm and flexibility and increase reading speed. Drills to develop rate and
This course examines a variety of literary texts from the late comprehension as well as supplementary practice in the English reading lab.
eighteenth through the twentieth century. Most of the texts are poems. One Note: Utilizes computers; may be repeated for credit.
is a Victorian novel: Charles Dickens’s Hard Times (1854). Students will
be expected to recognize and apply common literary terms associated with
analysis of poetry: allusion, apostrophe, enjambment, iambic pentameter, 65: Introduction to World Literatures in English - Martinez
metaphor, octave, pathetic fallacy, sestet, sonnet, volta and so on. Students TR 3:00-4:15pm
will also demonstrate an awareness of the different literary genres and the
WRETCHED LOVE
fundamental characteristics of Romantic, Victorian and twentieth-century
"Way before we enter into contracts that confirm that our relations are a
literature and culture. The course will focus on how and to what extent
result from choice, we are already in the hands of the other—a thrilling
literature privileges the revolutionary and creative artist (often associated
and terrifying way to begin." - Judith Butler
with early Romanticism), the social and political responsibilities of authors
(often associated with mid-Victorian texts) and the sense of disillusionment
Designed around analyzing intimate bonds and the permutations
and disintegration that emerged after the reign of Victoria and intensified
of heartbreak, we will read for love in works written in English yet that place
during and after the First and Second World Wars.
writers and their texts within colonial, post-colonial, and literary contexts.
For course policies, see the documents called ‘Student Handbook
How, in these contexts, is love characterized on the fictional page? And
and Contract for Engl. 40B’, ‘Papers: General Criteria’ and ‘Why My Cell
what might the lover's break-up and his/her spinning into narcissistic despair
Phone Policy Exists’: https://www.csus.edu/faculty/c/jonas.cope/.
teach us about the self, others, and how we love? Through the analysis of
Presentation: Lecture-Discussion
novels, short stories, plays, graphic novels, and music videos, we will
Requirements: Reading quizzes every week (including passage
consider the transformative states of the lover's (un)becoming, that is, for
identifications); a midterm examination; a cumulative
how human consciousness is constituted by bonds and how the lover
final examination.
transcends crisis in the moment of the epiphany that surfaces in love's very
Required texts:
failure. Indeed, love itself becomes narcissistically yet optimistically
1. Greenblatt, Stephen, editor. The Norton
illuminating, even in its oppressive hold. Traverses genres, periods and
Anthology of English Literature, The Major
cultures to examine how literary style reflects cultural heritage and how
Authors. 10th ed. Vol. 2. Norton, 2013. ISBN:
literary voice transcends national cultures.
9780393603095.
Presentation: Lecture and lecture-discussion.
2. Dickens, Charles. Hard Times. Edited by Fred
Requirements: Paragraph Assignments. Pop-Analyses. Research
Kaplan. 4th ed. Norton, 2016. ISBN:
Essay of 4-5 pages.
9780393288179.
Texts: Juan Rulfo, Pedro Paramo (1955)
G.E.: Fulfills area C2 (Humanities) of the GE Requirements.
Gabriel García Márquez, Selected Stories (1968)
Toni Morrison, Beloved (1987)
Chinua Achebe, Things Fall Apart (1958)
David Henry Hwang, M. Butterfly (1988)Jhumpa Lahiri, Interpreter of Maladies (1999) Student-centered group tutorial which will offer supplemental
Marjane Satrapi, Persepolis (2000) instruction in elements of academic writing taught in writing-intensive
Chimamanda Ngozi Adichie, We Should All Be upper-division courses; it will provide support to students concurrently
Feminists (2014) enrolled in writing-intensive upper-division courses throughout the writing
Warsan Shire, warsan vs. melancholy (2012) process, including drafting, revising, and editing, for a variety of papers
Beyoncé Knowles-Carter, Lemonade (2016) Prerequisite: WPJ Placement score of 70; student who receive a 4-
Junot Díaz, This Is How You Lose Her (2012) unit placement on the WPJ.
Canvas Reader Co-requisite: Writing-Intensive upper-division course.
G.E.: Fulfills area C2 (Humanities) of the GE Requirements.
110A: Linguistics and the English Language - Heather
85: Grammar for Multilingual Writers - TR 1:30-2:45pm
Staff English 110A is a survey course in modern linguistics for students
M/W 2:00-2:50pm who have had no previous formal studies in linguistics. Topics include
2-unit course that covers the major systems of English grammar in the description of English sounds (phonetics) and sound patterns (phonology),
context of reading passages and the students' own writing. Practice in the structure of words (morphology), sentence structure (syntax), meaning
editing authentic writing. Credit/No Credit. (semantics and pragmatics), language acquisition, and social patterns of
language use.
Presentation: Lecture-discussion.
105: Film Theory and Criticism - Rice Prerequisites: None, but English 110J, 110Q, or 16 highly
T 6:30-9:20pm recommended.
Film is visceral, vital and dynamic, and wider frameworks of Requirements: Quizzes, homework, online discussions.
understanding are needed to explain these aesthetic resonances. This class Text: Justice, P. (2004). Relevant Linguistics (2nd ed.).
will overflow with desires, pleasures, becomings, sensations, and ways for CSLI. ISBN-13: 978-1-57586-218-7
pulling such madness into theoretical reflections and discourses, not tame it
but to further complicate it in downright delightful ways filled with wonder
and surprise. This course will journey deep into the crevices of a variety of 110J. Traditional Grammar and Standard Usage - Seo
theoretical approaches to reading films and to unreading our own MW 1:30-2:45pm
expectations. We will play with theory in radical ways that will transform TR 3:00-4:15pm
and unnerve common methods for seeing. The class will introduce students Using a combination of lecture, exercises in and out of class,
to theoretical approaches such as Feminism, Post-Structuralism, quizzes, and exams, this course will cover basic concepts in traditional
Deconstruction, Psychoanalysis, Gender studies, etc. English Majors are grammar and usage: the parts of speech, the types of phrases, clauses, and
strongly encouraged to take this class as a way of being introduced to sentences, their various functions, and the conventions of standard written
literary theory. English. While this course will include a unit on how to respond to errors in
Prerequisites: None student writing, its focus is not "how to teach" grammar; instead, the goal is
Presentation: Screening of films, discussions, lectures. to provide future teachers with a foundational knowledge of those formal
Requirements: Midterm exam and final exam, research essay. aspects of the English language that are important in English classes,
Regular attendance and participation including grammar, punctuation, and writing.
Texts: Understanding Film Theory, 2nd edition, Ruth Doughty Presentation: Lecture, in-class group work, discussion.
and Christine Etherington-Wright. Recommended: A Requirements: 5 quizzes, 1 midterm, 1 project, 1 final exam.
Short Guide to Writing about Film, Timothy Corrigan Texts: Barry, A. K. (2002 or 2012). English Grammar (2nd
or 3rd ed.). Upper Saddle River: Prentice Hall.
109M: Writing for GWAR Placement (Multilingual) - Staff 110P: Second Language Learning and Teaching - Komiyama
English 109M provides intensive practice in prewriting, drafting, MW 4:30-545pm
revising, and editing academic writing for multilingual writers. Students This course will introduce students to the major theories and
research, analyze, reflect on, and write about the kinds of writing produced issues in second language acquisition, as well as the theories and
in academic disciplines. Students produce a considerable amount of writing assumptions underlying historical and current trends in second language
such as informal reading responses, rhetorical analyses, and an extended pedagogy. The materials and activities introduced in class will focus on the
academic research project. Students will submit their writing late in the acquisition and teaching of English as a second/foreign language, in
semester in a GWAR Portfolio, from which they will receive a GWAR particular. Because the content of this course assumes some prior
Placement. knowledge of linguistics, it is recommended that students have completed
Prerequisites: Must have passed ENGL20 (or a comparable course) or are currently enrolled in English 110A: Linguistics and the English
with a C- or higher, have completed at least 60 semester Language (or equivalent).
units, and have English Diagnostic Test score of 4 or 5, Presentation: Lecture-discussion.
credit in LS86 or WPJ placement number of 50. Prerequisites: None, but English 110A is recommended.
Requirements: Two projects; two exams; a group project (teaching
demonstration).
109W: Writing for GWAR Placement - Staff Texts: (1) Lightbown, P. M. & Spada, N. (2013). How
English 109W provides intensive practice in prewriting, drafting, Languages Are Learned (4th Ed.). Oxford University
revising, and editing academic writing. Students research, analyze, reflect Press; (2) Larsen-Freeman, D. & Anderson, M.
on, and write about the kinds of writing produced in academic (2011). Techniques and Principles in Language
disciplines. Students produce a considerable amount of writing such as Teaching (3rd Ed.). Oxford University Press.
informal reading responses, rhetorical analyses, and an extended academic
research project. Students will submit their writing late in the semester in a
GWAR Portfolio, from which they will receive a GWAR Placement. 110Q: English Grammar for ESL Teachers - Heather
Prerequisite: English 20 with a C- grade or better and have TR 12:00-1:30pm
completed at least 60 semester units. This course provides a survey of the issues in English grammar
that are relevant to the teaching of English as a Second Language. The focus
will be on simple and complex clauses, with particular emphasis on the
109X: Writing-Intensive Workshop - Staff structure of noun phrases and the verb phrase system. Students whosuccessfully complete this course will be able to recognize, name and use the rise of social media is shaping culture and discourse, and the ways in
all the grammatical structures covered in the course text. which we participate in it. Student work will be focused on studying this
Presentation: Lecture-discussion. topic and developing individual research projects within in it.
Prerequisites: None; however, previous or concurrent Presentation: Discussion, light lecture, workshops, and individual
enrollment110A is recommended. and group activities.
Requirements: Mid-term & Final; Projects. Requirements: Participation, regular reading and writing events,
Texts: Required: Cowan, R. (2008).The Teacher's Grammar culminating in a final research paper.
of English. ISBN: 978-0521809733; Recommended: Texts: The reading list for the course is not yet finalized.
Biber, Conrad, & Leech. (2002). Longman Student
Grammar of Spoken and Written English. ISBN: 978-
0582237261 120P: Professional Writing - Dunn
MW 1:30-2:45pm
TR 12:00-1:15pm
116A: Studies in Applied Linguistics - Clark This course will introduce students to the rhetorical conventions
TR 10:30-11:45am and writing practices of professional and technical communication. Because
TR 12:00-1:15am writing and communication are essential to success in any profession,
This course is designed to equip elementary school teachers with course content will be relevant for all students regardless of career
necessary knowledge regarding the development of oral language and ambitions. The course will approach professional communication from a
literacy skills in young children. We will cover four general topic areas: rhetorical perspective, focused on understanding how purpose, audience,
language acquisition, the teaching of reading, language variation (dialects), and context dictate content, style, medium, and other composition decisions.
and specific issues and literary acquisition and the second language learner. The course will be focused on a series of cases derived from hypothetical
Presentation: Lecture-discussion. and authentic situations in which students will be required to identify,
Requirements: Three examinations, three minor assignments, three understand, and address problems in the workplace and the community.
assignments. Students will gain experience with a variety of technical and professional
Texts: Moustafa, Beyond Traditional Phonics; Course communication genres, incorporating both traditional written mediums as
Reading Packet. well as other nontraditional mediums.
Requirements: Three major projects (a job application portfolio, a
116B: Children’s Literary Classics - Zarins workplace conflict resolution portfolio, and a
TR 9:00-10:15am community-based collaborative recommendation
TR 10:30am-11:45am portfolio), regular short writing assignments, class
In this class, we will study a variety of children‘s books targeted presentation.
toward different ages (from ages 0 to 18, though the focus will be on K-6 Text: Technical Communication Today, sixth edition,
readers). Be prepared to read roughly a novel a week. Despite the wide range Richard Johnson-Sheehan, ISBN: 978-0-13-442573-3
of these readers and the fact that the texts span the early 20th century to the G.E.: Fulfills the Writing Intensive Graduation Requirement.
present, common themes persist, and in this course we will explore some of
those themes: entrapment and isolation; social differences and prejudice;
living with a physical or cognitive differences; and the power of words and 121: Writing Center Tutoring - Staff
images. Through class discussion, extensive projects, possible visiting One-on-one tutoring in reading and writing at the University
speakers, the Writing Partners Program (in which we write letters to Writing Center. Student writers will meet with assigned tutor an hour a
elementary students), and additional assignments, this course aims to satisfy week. Topics could include understanding assignments, prewriting,
two kinds of students, those who are reading children‘s books for their own revising, reading strategies, editing strategies, integrating research, etc. To
sake, and those who seek to bring literature alive to children. register for this course, students must sign up for a regular tutoring session
Presentation: Lecture-discussion time during week two of the semester at the University Writing Center.
Requirements: Several short writing assignments/paper, class
presentation, quizzes, exams; several community
engagement projects including reading to children 125A: Literature and Film for Adolescents - Fanetti
Texts: (TBA) may include Charlotte‘s Web by E. B. White; MW 12:00-1:15pm
Holes by Louis Sachar; Rules by Cynthia Lord; Ghost, The main focus of this course is pedagogy: the “why” of
Jason Reynolds; It Ain’t So Awful, Falafel, by teaching—in this case, the “why” of teaching literature and film to
Firoozeh Dumas; The Conch Bearer by Chitra adolescents. The “what” and “how” of teaching are important factors in
Banerjee Divakaruni; selected fairy tales, picture understanding the “why,” of course. So, we’ll be reading a lot, writing a lot,
books, and Aesop fables. talking a lot, and engaging other media. We’ll cover a range of genres and
movements. All this talking, reading, writing, and viewing (not to mention
120A: Advanced Composition - Lee thinking!) will be supported by and focused on teaching—while we will of
TR 12:00-1:15pm course be analyzing the texts we encounter together, we’ll be doing so in
An intensive writing workshop in which student writing is the ways that help us understand how to help students engage with literature
focus. Students will engage in a writing process that will include feedback and film.
from peers and the instructor throughout the process. This writing process Presentation: Discussion, light lecture, and group activities.
may occur in a variety of rhetorical situations and genres. Through Requirements: Participation, regular reading and writing events, and
reflection on their writing products and processes, students will gain an a final paper.
awareness of themselves as writers. By the end of the course students will Texts: The reading list for the course is not yet finalized, but
complete an extensive research project focused on academic inquiry. likely titles include:
Note: ENGL 120A is a requirement for English majors. Aristotle and Dante Discover the Secrets of the
Prerequisites: GWAR Certification before Fall 09, or WPJ score of Universe, by Benjamin Alire Sáenz
70+, or at least a C- in ENGL 109M or ENGL 109W. The Hate U Give, by Angie Thomas.
The Hunger Games, by Suzanne Collins
Incidents in the Life of a Slave Girl, by Harriet Jacobs
120A: Advanced Composition - Fanetti Maus (Parts I and II), by Art Spiegelman
MW 4:30-5:45pm Othello, by William Shakespeare
Discourse in the Social Media Era A Raisin in the Sun, by Lorraine Hansberry
In this section of Advanced Composition, we will orient our work Our textbook will be Teaching Young Adult Literature
toward the discursive situation of social media—that is, the ways in which Today, 2nd ed., Judith A. Hayn & Jeffrey S. Kaplan, eds.125B: Writing and the Young Writer - Fanetti 130M: Art of Autobiography - Ghosal
MW 1:30-2:45pm MW 3:00-4:15pm
Starting from the premise that masterful communication is the In May 2017, a New Yorker article famously proclaimed that “The
cornerstone skill for all areas of scholarship and citizenship, we will discuss Personal Essay Boom is Over,” which subsequently prompted the
the ways and means of teaching writing to students at the critical middle and publication of several articles defending and critiquing autobiographical
secondary levels. We will engage in activities to help us understand our writing by turns. While the jury is still out on whether the personal essay is
own writing processes and we will read theoretical and practical texts as we alive or dead, in this course, students will read a range of autobiographical
think about best practices for encouraging students to become clear, writings and theories to explore how this mode of creative expression relates
interesting, critical writers, thinkers, and members of community. the “self” to the “world.” Challenging pre-conceived ideas about one’s
Presentation: Discussion, light lecture, and group activities. “self” and the veracity of “memory,” students will respond in writing to
Prerequisites: Eng 110J or equivalent, Eng 20 or 120A memoirs that explicitly engage various objects, texts, and documents to
Requirements: Participation, regular reading and writing events, and construct the memoirist's subjectivity. In addition, students will compose
a final project. and workshop a personal essay (10-12 pages) in stages through the duration
Texts: Teaching Adolescent Writers, by Kelly Gallagher of semester by incorporating theoretical and stylistic ideas cultivated from
Teaching Composition: Background Readings 3rd ed., the readings and writing response papers. The personal essay is expected to
ed. T.R. Johnson display awareness of the cultural, political, and/or historical forces shaping
the writer’s subjectivity, in keeping with the memoirs students will read in
the course.
125F: Teaching Oral Skills - Clark
Prerequisites: English 30 B or 30 A
TR 4:30-5:45pm
Presentation: Lecture-Discussion-Workshop
This course will provide students with both the necessary
Requirements: Participation, completing reading assignments,
background knowledge and well as the specific pedagogical tools for
promoting proficiency in spoken interaction, listening skills, and Multiple drafts of a 10-12-page autobiographical
essay; response papers, and other short writing.
pronunciation in second language/foreign language contexts, specifically,
Texts: Will include the following autobiographical texts in
English as a Second Language (ESL) and English as a Foreign Language
selection or in their entirety—Roland Barthes by
(EFL).
Presentation: Lecture-discussion. Roland Barthes, David Small’s Stitches, Rafia
Zakaria’s Veil, Terese Marie Mailhot’s Heart Berries,
Prerequisites: None. English 110A and 110A highly recommended,
Karen Tei Yamashita’s Letters to Memory, Amitava
Requirements: tutoring, final exam.
Kumar’s Lunch with a Bigot, Eula Biss’s No Man’s
Text: Teacher-prepared course reader
Land, and Ta-Nehisi Coates’s Between the World and
Me.
G.E.: Fulfills the Writing Intensive Graduation Requirement
130B: Intermediate Poetry Writing - McKinney
and General Education Area C1 (Arts).
MWF 10:00-10:50am
This course picks up where English 30C left off. Students will
study seminal texts on poetics from poets such as Wordsworth, Breton, 145A: Chaucer – Canterbury Tales - Zarins
Rimbaud, Lorca, Valéry, Pound, Eliot, Hughes, Stevens, and Olson; and TR 1:30-2:45pm
This course will introduce students to Chaucer’s great poem and
students will produce their own poems in response to (or in “conversation
with”) these poetic theories. The course format is lecture/discussion, guided the ways it thinks about power, authority, gender, society, and the pursuit of
truth. We will supplement our reading with primary texts by classical and
practice in poetic technique, and peer workshop. Quizzes and exams will
medieval authors, as well as secondary readings and audio and film clips
cover the assigned reading.
and studies of medieval manuscripts and facsimiles. Chaucer will make you
Prerequisites: English 30A or 30C
Required Texts: A Little More Red Sun on the Human, Gillian Conoley; laugh and think.
Toward the Open Field, Melissa Kwasny, Ed. Presentation: Lecture/Discussion
Requirements: Presentation, Papers, Quizzes, Midterm, and Final
130F: Writing for Television - Williams
MW 12:00-1:15pm 145B: Shakespeare—Early Plays - Gieger
This class will introduce students to the craft and art of television TR 12:00-1:15pm
This course will focus on a sampling of William Shakespeare’s
writing. Students will learn how to pitch, notecard and eventually write an
original pilot for television. This course will have a strong emphasis on plays from the 1590s, plays written during the last decade of the 45-year
outlining and rewriting. Writing well can be a lonely and arduous task, and reign of Queen Elizabeth I. We will start with two of his famous tragedies,
the earlier Romeo and Juliet and then, from about 1600, Hamlet. We will
there truly is a cost to creating something great, but this effort and focus is
then turn to a sampling from Shakespeare’s history plays, works that merge
what makes the outcome so rewarding. The goal of this class is to give
students the foundation and tools necessary to take a good idea and comedy and tragedy as they detail the lives and fates of Prince Hal and
transform it into a great television show. Falstaff (Henry IV, Part I and Henry IV, Part II plus small portions of Henry
V). After the midterm, we read two comedies that take their young New
Presentation: Lecture, discussion, workshop
Comedy lovers away from corrupt courts and potential death and out into
Requirements: Weekly quizzes, a story pitch, a television treatment, a
Northrop Frye’s liberating “green world” of Nature, rebirth, and sexuality
series bible, 30 notecards and 10 pages of an original
pilot (As You Like It and A Midsummer Night’s Dream). We will conclude the
semester with Much Ado About Nothing, a comedy that very nearly becomes
a tragedy. Along the way, we will meet some of English (world?) literature’s
greatest characters (and their famous, oft-quoted words and speeches):
Juliet, Romeo, Hamlet, Ophelia, Gertrude, Prince Hal, Falstaff, Rosalind,
Touchstone, Jaques, Puck, Bottom, Titania, Oberon, and Beatrice &
Benedick. Selections from The Bedford Companion to Shakespeare (as well
as from the various editions of our texts and some photocopies) will help us
to understand the plays and the cultural, literary, and political cross currents
of Elizabethan England.
Presentation: Lecture/Discussion
Requirements: midterm and final exam, response papers, quizzes,
performance project, longer writing assignment with
scholarly research componentTexts: Russ McDonald, The Bedford Companion to
Shakespeare: An Introduction with Documents (2nd 150I: Modern American Short Story - Lee
Edition: Bedford/St. Martin’s, ISBN: 978- TR 4:30-5:45pm
0312248802); William Shakespeare: Romeo and Juliet Since the publication of Washington Irving's "Legend of Sleepy
(New Folger Library/Simon & Schuster, ISBN: 978- Hollow," Americans have excelled at the genre of the short story. Offers a
0671722852); Hamlet (Modern Library/Random survey of traditional "masters" and recent innovators. Provides an
House, ISBN: 978-0812969092); Henry IV, Part One opportunity to read a wide variety of writers (such as Wharton, Chopin,
and Part Two (Longman Cultural Edition, ISBN: 978- Crane, Gilman, James, Anderson, Hemingway, Faulkner, Ellison,
0321182746); As You Like It (Penguin/Pelican O'Connor, Barth, Oates, Proulx, Roth, Carver, and Welty) , and examine a
Shakespeare, ISBN: 978-0143130239); A Midsummer range of forms, themes and experiences that reflect and shape American
Night’s Dream: Texts and Contexts (Bedford/St. culture.
Martin’s, ISBN: 978-0312166212); Much Ado About
Nothing (Signet Classics, ISBN: 978-0451526816)
155E: Hemingway and Fitzgerald - Wanlass
150A: Early American Literature - Sweet TR 1:30-2:45pm
MW 1:30-2:45pm Spurring each other on through their sometimes friendly,
When the English Puritans first looked out onto the shores of sometimes not-so-friendly competition, Hemingway and Fitzgerald
America, they saw a “howling wilderness, full of wild beasts and wild men.” produced some of the most remarkable writing in modern American
For newcomers to the American landscape, this wildness could be literature. As Scott Donaldson says in his new study, Hemingway and
alternatively exhilarating, liberating, terrifying, or transcendent. In Fitzgerald: The Rise and Fall of a Literary Friendship, “They may have
narratives, short fiction and novels, we will examine how this confrontation thought themselves in competition, but the race is over and both tortoise and
with the wild corresponds with themes of contact, conquest, and captivity hare have won.” This course will examine the exceptional talents of these
in colonial through early nineteenth-century America, and we will also two closely related and yet very distinctive writers, as seen in a range of
explore the implications of such themes for theories of knowing oneself and their novels and short stories.
one’s community. Presentation: Lecture-discussion (with an emphasis on discussion).
Requirements: Weekly reading quizzes, short analytical essays, in- Requirements: Two papers and an exam.
class writing, final exam. Texts: (Subject to minor change) Hemingway: The Sun Also
Presentation: Lecture-Discussion Rises, The Old Man and the Sea, Short Stories of Ernest
Texts Likely to Include: Hemingway. Fitzgerald: This Side of Paradise, The
Gordon Sayre, ed: American Captivity Narratives Great Gatsby, Tender is the Night, The Short Stories of
(Riverside) ISBN: 978-0395980736; Olaudah F. Scott Fitzgerald.
Equiano: The Interesting Narrative (Penguin) ISBN:
9780142437162; Benjamin Franklin: Autobiography 170N: Narrative Poetry - McKinney
and other Writings (Signet) ISBN: 978-0451469885; MW 12:00-1:15pm
Hannah Foster: The Coquette (Oxford UP) This course will focus on epic poems in western literary history
ISBN: 978-0195042399; Charles Brockden Brown: from Homer to Alice Notley (1945- ). Through lecture and class
Ormond (Hackett) ISBN: 978-1603841252; Catharine discussion, we will explore a variety of aspects of poetic narratives
Maria Sedgwick: Hope Leslie (Penguin) ISBN: 978- including myths, themes, methods of composition, social and material
0140436761; James Fenimore Cooper: The Last of the culture, and history.
Mohicans (Penguin) ISBN: 978-0140390247 Presentation: Lecture-Discussion, student presentation, quizzes and
exams.
Required Texts: The Iliad, Homer (Robert Fagles translation)
150C: American Realism - Sweet The Aeneid, Virgil (Robert Fagles translation)
TR 3:00-4:15pm The Inferno, Dante (John Ciardi translation).
Reacting against the perceived excesses of the Romantic era, with Paradise Lost, John Milton
its often sentimental, idealized, or fantasy representations, U.S. writers in The Rime of the Ancient Mariner, Samuel Taylor
the period between the Civil War and World War I sought what William Coleridge
Dean Howells called a more “truthful treatment” of American life in their The Descent of Allete, Alice Notley
novels, poetry, short stories, and essays. Through a more unvarnished
depiction of American experience, whether in factories, city streets,
Southern black communities, Indian boarding schools, or New York salons, 180B: Forms African-American Fiction - Montgomery
literary realism will be our focus as we explore the relationship between art TR 10:30-11:45am
and “truth”; the influence of science and technology on American culture; This course explores five major categories: the Neo-Slave
the impact of industrialization and urbanization, and the quest for social Narrative (Arna Bontemps’ Black Thunder), Blues, Jazz and Urban
equality and justice in post-Civil War America. Realism, (Ralph Ellison’s Invisible Man) Postmodernist Aesthetics (Toni
Presentation: Lecture-discussion. Morrison’s Song of Solomon), Black Speculative Fiction (Octavia Butler’s
Requirements: Weekly reading quizzes, short analytical essays, in- Kindred and Kiese Laymon’s Long Division). Addressing key “events” or
class writing, final exam. “moments,” we will analyze the determining effects of race relations on the
Texts Likely to Include: reorientation of U.S. racial, sexual, and regional/transnational politics from
Harriet Jacobs: Incidents in the Life of a Slave Girl in the New Negro Renaissance to the 2000s. We will also closely consider
(Penguin) ISBN: 978-0140437959); Henry James: verbal and literary modes including, African retentions, oral traditions,
Daisy Miller (Penguin) ISBN: 978-0141441344; signifying, folklore, and music, as well as their evolutions and how they
Charles Waddell Chesnutt: Tales of Conjure and the have created a uniquely African American literary voice and how that voice
Color Line (Dover) ISBN: 978-0486404264; Zitkala has transformed to fit this contemporary moment. In an effort to critically
Ša: American Indian Stories (Penguin) ISBN: 978- map the trajectories of contemporary African American literature we will
0142437094; Phillip Barrish: Cambridge Introduction be interrogating not only the historical and political contexts of the works,
to American Literary Realism (Cambridge) ISBN: but also the ways in which issues of gender, sexuality, and class specifically
978-0521050104; and short fiction to be made inform the works. Key questions for the course are: 1) Does literature have
available through Canvas. a distinctive social purpose? and What makes a text “black”? 2) What does
it mean to write about resistance and revolution, even when the outcomes
are considered unsuccessful? 3) How does race play a determinative role inculture? 4) How do race, class, gender, and sexuality interact in African Presentation: Lecture-discussion
American literature? Requirements: Reading quizzes, papers, conferences, mid-term exam,
Presentation: Lecture on writers, race, gender, and historical final exam
contexts, but discussion will be our primary mode of Texts: “Seventeen Syllables,” by Hisaye Yamamoto, ed. by
exchanging ideas, writing skills, and conveying King-Kok Cheung; The Woman Warrior, by Maxine
information. Hong Kingston; No-No Boy, by John Okada; Native
Requirements: Active participation, discussion leader, a 7-8 page Speaker, by Chang-rae Lee; M. Butterfly, by David
Research Essay, peer editing, annotated bibliography, Henry Hwang; The Boat, by Nam Le; Unaccustomed
two short thinking/reflection papers (2 pages), 2 page Earth, by Jhumpa Lahiri; Sightseeing, by Rattawut
research prospectus, short presentation. Lapcharoensap; In the Country, by Mia Alvar.
Texts: Arna Bontemps, Black Thunder, Octavia Butler, G.E.: Fulfills the Writing Intensive and Race & Ethnicity
Kindred, Toni Morrison, Song of Solomon, Ralph Graduation Requirements and General Education
Ellison, Invisible Man, and Kiese Laymon’s Long Area C2 (Humanities).
Division. Additional Readings available on Canvas.
G.E.: Fulfills the Writing Intensive and Race & Ethnicity
Graduation Requirements and General Education 180Z: Topics in Multi-Ethnic Literatures - Lee
Area C2 (Humanities). MW 4:30-5:45pm
Comparative analysis of two or more ethnic literary and cultural
180L: Chicano Literature Martinez productions with an emphasis on relationships among history, politics, and
T 6:30-9:20pm culture in American, British, or World literatures.
THE SOULS OF BROWN FOLK Note: May be repeated twice for credit as topics vary.
Brownness is not white, and it is not black either, yet it does not G.E.: Fulfills General Education Area C2 (Humanities).
simply sit midway between them.
- José Muñoz
This course examines the culture, politics and souls of brown folk 190R: Romance Fiction - Fanetti
in Chican@ literature. It takes its inspiration from W.E.B Du Bois’ book MW 3:00-4:15pm
title while engaging Gloria Anzaldúa’s claim that a “new mythos” of NOT YOUR MOTHER’S BODICE-RIPPER:
belonging can only occur through “a massive uprooting of dualistic thinking The Romance Genre in the 21st Century
in the individual and collective consciousness.” Rooting her call in Du Bois’ FIRST THINGS FIRST: This course is NOT focused on the Romantic
theory of double consciousness and José Esteban Muñoz’s feeling brown Period. We will NOT be reading Byron, Shelley, Blake, et al. We WILL be
(as a mode of brown politics and survivability) we will trace the dynamics discussing the genre of POPULAR ROMANCE—i.e., ROMANCE
of cultural separation as they occur between racialized subjects and NOVELS. We will be taking it seriously, reading, analyzing, and discussing
communities of color in autobiographies, especially those that narrate social romance literature through literary and cultural lenses.
mobility through educational achievement. How is this uprooting NOTE: this genre is often sexually explicit, and we will engage in
experience staged in stories of the learning self, not in a context of shared academic discussions of that aspect of the literature with the same
cultural revolution, but rather through deeply self-reflective moments of seriousness as any other aspect. DO NOT take this course if explicit sexual
non-recognition in which the “I” is caught between nostalgia for heritage content, including a wide range of sexual situations and an inclusive range
and desire for racial mobility. Reading for brown matters, we will define an of orientations and identities, offends you.
ethics of brownness and examine how mobile racial and gendered subjects DO take this course if you’re interested in engaging in serious academic
negotiate terms of “authenticity” as they move between marginalized ethnic inquiry into one of the most popular and influential genres of fiction.
identities (unauthentic citizen/American) and enshrined models of national The enduring stereotype of the romance novel is the dramatic cover
identity (authentic citizen/American). Framing the course with Anzaldúa, depicting the bare-chested, Fabio-modeled “hero” holding the swooning
Muñoz, and Du Bois, we will reflect on classic texts to examine genre and “heroine” draped over his arm, her wild hair flowing and her bountiful pale
contextualize several authors, through whose works we will follow how breasts swelling from her torn dress. Hence the term “bodice-ripper.”
structures of discrimination and institutions of privilege sustain and break But neither the stereotype nor the term has aged well. Though of course
communities on the cultural path toward “Americanness.” there are still stories written about brooding dukes and naïve duchesses, the
Presentation: Lecture, lecture-discussion, and workshop. genre contains multitudes. Romance is more diverse and dynamic than ever
Text: Gloria Anzaldúa, Borderlands/La Frontera: The New before and continuing to evolve in new, more inclusive directions.
Mestiza (1987) Romance is the only literary genre dominated in every facet by women,
Rudolfo Anaya, Bless Me, Ultima (1972) and as such is often unjustly denigrated in this patriarchal culture as
John Rechy, City of Night (1963) “mommy porn.” However, its influence is significant, and we would do well
Oscar Zeta Acosta, The Autobiography of a Brown to take it seriously. In the twenty-first century, the romance genre is a
Buffalo (1972) billion-dollar industry—as big as the mystery, science fiction, and fantasy
Richard Rodriguez, Hunger of Memory: The Education genres combined. It is an industry juggernaut, supported by and responding
of Richard Rodriguez (1982) to a savvy, sophisticated audience that is culturally and politically aware,
Cherrie Moraga, Loving in the War Years (1983) engaged, and active.
Sandra Cisneros, The House on Mango Street (1984) Moreover, while it is dominated by women, romance is not exclusively
G.E.: Fulfills the Writing Intensive Graduation Requirement by or for women, and the industry itself is finally taking notice of voices
and General Education Area C2 (Humanities). outside the conventional cis-het, white, privileged perspective the
stereotype instantiates.
180M: Asian-American Literature - Yen In this course we will read widely among many subgenres of
TR4:30-5:45pm contemporary romance fiction, and we will consider the evolution of the
This writing intensive course, which fulfills General Education genre, the power of its audience, and its place in popular literature and
area C2 and the Race and Ethnicity requirement, is designed to introduce culture.
you to the diversity and richness of Asian American literature as well as to Presentation: Discussion, light lecture, and group activities.
help you improve your ability to communicate your ideas effectively. We Requirements: Participation, regular reading and writing events,
will discuss the social and historical contexts in which Asian American texts including a substantial final paper.
were created and concepts of representation, stereotypes, Orientalism, and Texts: The textbook for this course will be: New Approaches
transnationalism. We will also explore the concept of home and how our to Popular Romance Fiction: Critical Essays, ed. Sarah
ideas about family, memories, and cultures shape our sense of identity and S.G. Frantz and Eric Murphy Selinger
place in society.Otherwise, the reading list for this course is not yet Texts: Rick Worland, The Horror Film: An Introduction
finalized but will likely include: (Wiley-Blackwell ISBN: 978-1405139021)
The Bird and the Sword, by Amy Harmon Kendall R. Phillips, Projected Fears: Horror Films
Dark Lover, by J.R. Ward and American Culture (Praeger ISBN: 978-
The Duchess War, by Courtney Milan 0313361821)
A Duke by Default, by Alyssa Cole
Idol, by Kristen Callihan 198T: Senior Seminar - Martinez
The Kiss Quotient, by Helen Hoang TR 12:00-1:15pm
Long Shot, by Kennedy Ryan
Melville’s Moby-Dick
Saga, Vols. 1-4, by Fiona Staples and Brian K. Vaughan
God keep me from ever completing anything. This whole book is but
The Song of Achilles, by Madeline Miller
Truth or Beard, by Penny Reid a draught—nay, but the
When Beauty Tamed the Beast, Eloisa James draught of a draught. Oh Time, Strength, Cash, and Patience! -
Wolfsong, by T. J. Klune Melville (Chapter 32)
Herman Melville’s (1819-1891) 200th birthday was celebrated in
August of 2019, so let’s begin the year with a celebratory plunge into Moby-
195A: Writing Center Theory and Practice: Internships - Staff Dick; or, The Whale (1851), the so-called literary masterpiece in the
TR 4:30-5:45pm American canon but that which its author once called a “wicked book”. As
Sign up for this course and become a University Reading and we embark upon a maddening quest, particularly in search of how his
Writing Center tutor. The course will provide you with strategies for whaling book became a 20th-century phenomena, our very close reading of
conducting one-to-one tutorials with Sacramento State students on their Melville’s beloved classic and our intensive study of the art of his
writing. We will examine writing center theory and research in light of your composition, will lead us into theoretical waters through which to explore a
experiences as a tutor. Students will tutor five hours a week in the University range of literary, social, political, religious, philosophical, psychological,
Reading and Writing Center and will be able to choose their hours (day or and even cetological depths. Put simply: this seminar is about Melville and
evening hours are available). On-going guidance and support for your work his writing of Moby-Dick. We will pursue Melville’s creative meditations,
in the University Reading and Writing Center are provided by experienced where we shall find genius alongside monomania. You will be introduced
tutors and the instructor. After completing the course, students are eligible to Melville’s earlier publications to understand his quarrel with imitation
to become paid tutors. literature and his writerly protests against 19th-century America and its
Presentation: Discussion literary marketplace. You might ask: Why read Melville’s whaling book?
Prerequisites: A “B” or better in ENGL20 or ENGL120A or a Writing Well, Melville’s lyrical and radical prose pursued epic notions of
Intensive course Americanness; indeed, Moby-Dick was/is Melville’s own pursuit toward
Note: May be repeated for 6 units of credit. Credit/No Credit defining a literature that America could call its own. Together, we will read
deeply into Melville’s 135 chapters as well as glance at the texts that
inspired his novel, in addition to correspondence, journal entries,
195W: Writing Programs Internship - Laflen international reviews, contemporary illustrations (including maps,
T 4:30-5:45pm engravings, and diagrams of whaleboat rigging), watch a film or two, and
During Spring 2020, the writing programs internship will focus even study Melville’s marginalia via an online tool.
on projects for the composition program. Working in teams, students will Presentation: Lecture, lecture-discussion, and workshop.
revise the writing program handbook and help create an accessible ebook Requirements: Paragraph Assignments. Creative project. Research
version of the handbook. This internship will provide students with the Essay of 8-10 pages.
opportunity to learn firsthand about the work of writing program Text: Herman Melville, Moby-Dick (1851, Norton Critical
administrators, desktop publishing, writing project management, and Edition); Course Reader
document accessibility. Students will test the documents they create with
real users and learn how usability testing helps improve professional
writing. Students will produce writing samples to be used by the
composition program and that can be included in students’ portfolios. 198T: Senior Seminar - Cope
W 6:30-9:20pm
The focus of this seminar is Romantic-era Poetry. We will read two
197A: Film: Horror, Comedy, and Science Fiction - Gieger kinds of text in this class:
R 6:30-9:20pm 1. poems by Romantic-era authors; and
This semester we will focus on the American horror film, 2. seminal (1920–1980) and recent (1981–present) critical
screening films from the 1930s through the early 2000s alongside readings scholarship on Romantic poetry (course-pack).
about and discussions of their content/themes (sometimes sci-fi, sometimes The Romantic era (c. 1776–1837) featured one of the most
comedy, always horror) and their connections to American culture and revolutionary developments in the history of English literature. In Britain
history. We will be working with the sub-theme: Classics, Sequels, the era was marked by social, political and cultural upheaval. It witnessed
Remakes, and Reimaginings. Films to be screened will likely include: James the American and French revolutions; a war with France lasting over two
Whale’s Frankenstein and The Bride of Frankenstein; Tod Browning’s decades (1793–1815); fierce political oppression and popular riots; the
Dracula; Jacques Tourneur’s Cat People (a Val Lewton production); transformation from an agrarian to an industrial economy; the rise of
Christian Nyby’s The Thing from Another World (with an assist from modern democracy; and a renaissance in literary culture that replaced the
Howard Hawks?); Don Siegel’s Invasion of the Body Snatchers; Alfred temperance, balance and didacticism privileged by eighteenth-century
Hitchcock’s Psycho; George Romero’s Night of the Living Dead; John aesthetics with an emphasis on emotional expression, sincerity and the
Carpenter’s Halloween; Philip Kaufman’s Invasion of the Body Snatchers; individual imagination.
Ridley Scott’s Alien; Paul Schrader’s Cat People; Tom Holland’s Fright Students will be expected to recognize and apply common literary
Night; Francis Ford Coppola’s Bram Stoker’s Dracula; Wes Craven’s terms associated with analysis of poetry: allusion, apostrophe, enjambment,
Scream; and Ruben Fleischer’s Zombieland. Some of the films we study iambic pentameter, metaphor, octave, pathetic fallacy, sestet, sonnet, volta
will feature moments of graphic violence, profanity, and/or nudity & and so on. We will also study poetic meter. Both required texts are
explicit sexuality. nonnegotiable. This anthology is unusually detailed in its annotation. Its
Presentation: Lecture/Discussion headnotes and annotations to the poems provide relevant contextual
Requirements: Midterm and Final Exam, One Paper/Research information but, more importantly, give pride of place to features such as
Assignment, Response Papers, Quizzes, Creative form, theme, genre, structure, rhyme, line-endings, imagery and allusions to
Project other poems. The intention is to open up debate about interpretations and
modes of valuing the poetry by demonstrating ways of reading the poems.Formal analysis is offered in the interest of stimulating a sense of the Texts: Oxford World Classic’s editions of Lady Susan (in
imaginative and affective force of the original. Experience in reading and Northanger Abbey, Lady Susan, the Watsons and
analyzing poetry is strongly recommended. Sanditon [978-0199535545]), Pride and Prejudice
For course policies, see the documents called ‘Student Handbook and (978-0199535569), Emma (978-0199535521), and
Contract for All Upper-Division Courses’, ‘Papers: General Criteria’ and Persuasion (978-0199535552), Janet Todd’s The
‘Why My Cell Phone Policy Exists’: https://www.csus.edu/faculty/c/jonas.cope/. Introduction to Jane Austen, 2nd ed. (Cambridge
Presentation: Lecture-Discussion University Press, 978-110749470), Seth Graham
Requirements: Reading quizzes every week (including passage Smith’s Pride and Prejudice and Zombies (Quirk
identifications); a midterm examination; a final essay. Press, 978-1594743344), Joseph Harris’s How to Do
Required Texts: Romantic Poetry: An Anthology. Ed. Charles Mahoney Things with Texts, 2nd ed. (Utah State University
and Michael O’Neill. Wiley-Blackwell, 2007. , 978-160732686), Claire Kehrwald Cook’s Line
9780631213178. by Line (Houghton Mifflin, 9780395393918), MLA
course-pack (available at University Copy and Print). Handbook for Writers of Research Papers, 8th ed.
(9781603292627), and a class reading packet.
198T: Senior Seminar: Black Speculative Fiction - Montgomery
MW 12:00-1:15pm 215B: ESL Writing/Composition - Heather
Jamaican born Canadian writer Nalo Hopkinson asserts that “science TR 4:30-5:45pm
fiction has always been a subversive literature” because it forces the reader This course provides the groundwork to prepare teachers of
to “think twice and thrice about a whole bunch of things in relation to each English to speakers of other languages for composition instruction. An
other: sexuality, race, class, color, history.” With Hopkinson’s statement as examination of the theoretical bases of composing processes and
guide, this seminar investigates contemporary black speculative fiction from correction/revision strategies will enable students to plan writing lessons.
a variety of angles. In the first part of the course, we’ll discuss how authors, This course will also cover syllabus design, text evaluation, and writing
from the turn on the twentieth-century, such as W.E.B Du Bois and George assessment.
Schuyler, use familiar science fictional conceits like apocalypse and genetic NOTE: This is a hybrid course where approximately 50% of class
mutation, to uncover uncomfortable truths about racialized conflict between meetings will occur online.
cultures. In the second part of the course, we will turn to what Isiah Requirements: Tutoring; written assignments; lesson-planning
Lavender dubs the “counterfactual ethnoscapes” in Colson Whitehead’s project; group projects.
postmodern novels and Nnedi Okorafor’s Afrofuturist narratives to think Texts: Ferris & Hedgcock (2013), Teaching ESL
through alternative histories and (alien) futures, technologies, hybridity, and composition: Purpose, process, & practice (3rd Ed.)
mythologies. In the final section of the course, we will read the first two (of ISBN-13: 978-0-415-89472-2; Matsuda, P., Cox, M,
three) in Octavia Butler’s Lilith Brood’s trilogy to explore what it means to Jordan, J. , & Ortmeier-Hooper, C. (Eds.). (2006).
create new (spatial, cultural, biological, cosmological) worlds in trilogy Second-language writing in the composition
form. During this time, students will continue to research black speculative classroom. ISBN-13: 978-0-312-44473-0
fiction as they write their seminar essay that concludes the course.
Presentation: Lecture on writers, race, gender, and historical 215C: Pedagogical Grammar for TESOL -Seo
contexts, but discussion will be our primary mode of MW 4:30-5:45pm
exchanging ideas, writing skills, and conveying This course will focus on English grammar with an emphasis on
information. points that are problematic for ESL students. Topics will include the theory
Requirements: Active participation, Reading Responses, Conference and practice of teaching/learning grammar; review of the syntactic
Abstract, Seminar Research Paper 10-15 pages structures of English; discourse constraints on sentence-level grammar; and
Texts: Octavia Butler’s Lilith’s Brood, Colson Whitehead’s textbook evaluation with respect to grammar teaching. The course is
The Intuitionist and The Underground Railroad, Nnedi required for the TESOL M.A. and recommended for the TESOL Certificate
Okorafor’s Binti and Who Fears Death, and selections (Option B).
from Sheree Thomas’ Dark Matter. Presentation: Lecture-discussion and workshop.
Prerequisites: See MA TESOL prerequisites. Students should have
taken ENGL 110Q.
198T: Senior Seminar: Jane Austen - Toise Requirements: Lesson plans, presentations, textbook review, tutoring,
TR 3:00-4:15pm final project.
Jane Austen changed the genre of the novel and changed literary history. Possible Texts: Folse, K. (2016). Keys to teaching grammar to English
In this class, we’ll examine how she transforms literary form and the language learners: A practical handbook (2nd ed.).
workings of narrative. But Austen reworks not only narrative itself: she, Ann Arbor: University of Michigan Press.
like any transformative stylist, alters British conceptions of identity. And Nassaji, H., & Fotos, S. (2011). Teaching grammar in
we’ll examine, how along with the novel, she refashions her culture’s second language classrooms: Integrating form-focused
sense of gender, sexuality, nationality, status, and the controversial ideas instruction in communicative context. New York:
that shaped her moment in history. We’ll be reading Austen’s early Routledge.
novella, Lady Susan, as well as Pride and Prejudice, Emma, and
Persuasion. We’ll also view the Bollywood-inspired movie Bride and
Prejudice—and, for you horror fans, read (at least some of) Pride and 215D: Pedagogy of Spoken English - Clark
Prejudice and Zombies. We’ll ask ourselves how Austen’s novels and TR 3:00-4:15pm
plots connect—or perhaps are forced to connect—to our own cultural The first half of the class is a graduate-level course in English
moment: why has Austen’s popularity increased of late, particularly in phonetics and phonology. The second half of the coursewill instruct students
comparison to her peers? This class will also ask students to examine the how to promote second language oral proficiency at the Novice and
process of research and writing, and students will use our questions about Intermediate levels following the principles of Stephen Krashen and The
Austen and her novels to write a research paper that engages with Natural Approach.
intellectual traditions and scholarly sources. Presentation: Seminar.
Prerequisites: None, though successful completionof 110A
Presentation: seminar (Linguistics & the English Language) is strongly
Assignments: 3 short synthesis papers (2-3 pages), annotated recommended..
bibliography and paper proposal, several drafts of Texts: Teaching Pronunciation Celce-Murcia, M., Brinton,
a longer paper involving scholarly research (15 D. and J. Goodwin. Cambridge U. P.
pages), and frequent reading quizzes.You can also read
