English Department Course Description Booklet - Spring 2020
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Department 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 who
successfully 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 component
Texts: 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 in
culture? 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.
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