English Department Course Description Booklet - Spring 2020 - Sac State
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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
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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 and disintegration that emerged after the reign of Victoria and intensified
An advanced writing course for multilingual students that builds during and after the First and Second World Wars.
upon the critical thinking, reading, and writing processes introduced in For course policies, see the documents called ‘Student Handbook
English 5, 5M, 10/11, or 10M/11M. This class emphasizes rhetorical and Contract for Engl. 40B’, ‘Papers: General Criteria’ and ‘Why My Cell
awareness by exploring reading and writing within diverse academic Phone Policy Exists’: https://www.csus.edu/faculty/c/jonas.cope/.
contexts with a focus on the situational nature of the standards, values, Presentation: Lecture-Discussion
habits, conventions, and products of composition. Students will research Requirements: Reading quizzes every week (including passage
and analyze different disciplinary genres, purposes, and audiences with the identifications); a midterm examination; a cumulative
goals of understanding how to appropriately shape their writing for different final examination.
readers and demonstrating this understanding through various written Required texts:
products. 1. Greenblatt, Stephen, editor. The Norton
Prerequisite: 30 units and a grade of C- or better in ENGL 5, 5M, Anthology of English Literature, The Major
10/11, 10M/11M, or equivalent. Authors. 10th ed. Vol. 2. Norton, 2013. ISBN:
Requirement: A minimum of 5,000 words. 9780393603095.
G.E.: Fulfills the second semester composition requirement. 2. Dickens, Charles. Hard Times. Edited by Fred
(English majors are exempt from the GE requirement.; Kaplan. 4th ed. Norton, 2016. ISBN:
majors take English 120A instead) 9780393288179.
G.E.: Fulfills area C2 (Humanities) of the GE Requirements.
30A: Introduction to Creative Writing - McKinney 50B: Introduction to US Literature: 1865-Present - Ghosal
MWF 9:00-9:50am MW 12:00-1:15pm
This course is designed for students who want to learn the In this course we will examine the trajectory of American
elements of writing short fiction and poetry. Students will learn a variety of literature over a century and a half, from the aftermath of the Civil War to
styles for writing their own imaginary worlds into being. We will focus on the early twenty-first century. We will consider fiction, nonfiction, poetry,
sound, rhythm, voice, image, character, scene, plot, setting, story, and and drama that engage historical, political, and cultural phenomena such as
revision. Students will be introduced to peer critiquing known as Reconstruction, race and regionalism, immigration and internal migration,
“workshop.” This course also serves as a prerequisite for all upper-division the proliferation of mass media and technological changes.
Creative Writing courses. Given that we will be surveying texts written over a fairly long
Presentation: Lecture-Discussion. Workshop. period of literary history, it will be necessary to identify focal points
Texts: Memory Care, Matthew Chronister (poetry), not in connecting the literary responses to broader socio-cultural phenomena. To
bookstore. Stay tuned for purchasing details. that end, we will pay attention to innovations in literary forms, emergence
Making Shapely Fiction, Jerome Stern of new literary trends, resurgence of realism and its variants, modernist and
Flash Fiction: 72 Very Short Stories, Thomas, postmodernist experiments.
Thomas, and Hazuka, Eds. You will be introduced to a range of canonical and non-canonical
American literary texts, learn to appreciate and critique diverse aesthetic
practices, develop capacities for interpretation, critical thinking, and
30B: Introduction to Writing Fiction - Williams writing.
MW 3:00-4:15pm Presentation: Lecture-Discussion
This class will consist of reading, writing and commenting on peer Requirements: Short analytic papers, pop quizzes, and one final
work. Students will work on plot, dialogue, descriptive passages and multi-text quiz.
character sketches with the goal of learning to write substantial short stories. Texts: Will include novels and novellas such as Henry
Class sessions will combine discussion, in-class activities, lecture and in- James’s Daisy Miller (1879), Mark Twain’s The
class critiques of formal written assignments (i.e. workshop sessions). Adventures of Huckleberry Finn (1884), John Fante’s
Success in this course requires regular attendance, meaningful participation Ask the Dust (1939), Ana Castillo’s The Mixquiahuala
and weekly reading and writing assignments. The class will culminate in Letters (1986), Aleksander Hemon’s The Lazarus
students producing a portfolio of several short stories, which have been Project (2008); along with poems by Emily Dickinson,
revised and workshopped. William Carlos Williams, Langston Hughes, Susan
Presentation: Lecture, discussion and workshop Howe, Claudia Rankine; short stories by Ernest
Requirements: Weekly quizzes, attendance, in-class writing Hemingway, James Baldwin, Eudora Welty, Toni
assignments, preparation for class discussions and Morrison, Jhumpa Lahiri; and Suzanne Lori Parks’s
The America Play (1995).
multiple drafts of two short stories
G.E.: Fulfills area C2 (Humanities) of the GE Requirements.
Texts: Annie Proulx’s Close Range: Wyoming Stories; Anne
Lamott's Bird by Bird: Some Instructions on Writing
and Life; James Thomas and Robert Shapard’s Flash
60: Reading for Speed & Efficiency - Staff
Fiction Forward Strategies and techniques to promote greater reading efficiency
and flexibility and increase reading speed. Drills to develop rate and
comprehension as well as supplementary practice in the English reading lab.
40B: British Literature II Cope Note: Utilizes computers; may be repeated for credit.
MW 1:30-2:45pm
This course examines a variety of literary texts from the late
eighteenth through the twentieth century. Most of the texts are poems. One
is a Victorian novel: Charles Dickens’s Hard Times (1854). Students will 65: Introduction to World Literatures in English - Martinez
be expected to recognize and apply common literary terms associated with TR 3:00-4:15pm
analysis of poetry: allusion, apostrophe, enjambment, iambic pentameter, WRETCHED LOVE
metaphor, octave, pathetic fallacy, sestet, sonnet, volta and so on. Students "Way before we enter into contracts that confirm that our relations are a
will also demonstrate an awareness of the different literary genres and the result from choice, we are already in the hands of the other—a thrilling
fundamental characteristics of Romantic, Victorian and twentieth-century and terrifying way to begin." - Judith Butler
literature and culture. The course will focus on how and to what extent
literature privileges the revolutionary and creative artist (often associated Designed around analyzing intimate bonds and the permutations
with early Romanticism), the social and political responsibilities of authors of heartbreak, we will read for love in works written in English yet that place
(often associated with mid-Victorian texts) and the sense of disillusionment writers and their texts within colonial, post-colonial, and literary contexts.How, in these contexts, is love characterized on the fictional page? And Prerequisites: Must have passed ENGL20 (or a comparable course)
what might the lover's break-up and his/her spinning into narcissistic despair with a C- or higher, have completed at least 60 semester
teach us about the self, others, and how we love? Through the analysis of units, and have English Diagnostic Test score of 4 or 5,
novels, short stories, plays, graphic novels, and music videos, we will credit in LS86 or WPJ placement number of 50.
consider the transformative states of the lover's (un)becoming, that is, for
how human consciousness is constituted by bonds and how the lover
transcends crisis in the moment of the epiphany that surfaces in love's very 109W: Writing for GWAR Placement - Staff
failure. Indeed, love itself becomes narcissistically yet optimistically English 109W provides intensive practice in prewriting, drafting,
illuminating, even in its oppressive hold. Traverses genres, periods and revising, and editing academic writing. Students research, analyze, reflect
cultures to examine how literary style reflects cultural heritage and how on, and write about the kinds of writing produced in academic
literary voice transcends national cultures. disciplines. Students produce a considerable amount of writing such as
Presentation: Lecture and lecture-discussion. informal reading responses, rhetorical analyses, and an extended academic
Requirements: Paragraph Assignments. Pop-Analyses. Research research project. Students will submit their writing late in the semester in a
Essay of 4-5 pages. GWAR Portfolio, from which they will receive a GWAR Placement.
Texts: Juan Rulfo, Pedro Paramo (1955) Prerequisite: English 20 with a C- grade or better and have
Gabriel García Márquez, Selected Stories (1968) completed at least 60 semester units.
Toni Morrison, Beloved (1987)
Chinua Achebe, Things Fall Apart (1958)
David Henry Hwang, M. Butterfly (1988) 109X: Writing-Intensive Workshop - Staff
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 completedor are currently enrolled in English 110A: Linguistics and the English 120A: Advanced Composition - Lee
Language (or equivalent). TR 12:00-1:15pm
Presentation: Lecture-discussion. An intensive writing workshop in which student writing is the
Prerequisites: None, but English 110A is recommended. focus. Students will engage in a writing process that will include feedback
Requirements: Two projects; two exams; a group project (teaching from peers and the instructor throughout the process. This writing process
demonstration). may occur in a variety of rhetorical situations and genres. Through
Texts: (1) Lightbown, P. M. & Spada, N. (2013). How reflection on their writing products and processes, students will gain an
Languages Are Learned (4th Ed.). Oxford University awareness of themselves as writers. By the end of the course students will
Press; (2) Larsen-Freeman, D. & Anderson, M. complete an extensive research project focused on academic inquiry.
(2011). Techniques and Principles in Language Note: ENGL 120A is a requirement for English majors.
Teaching (3rd Ed.). Oxford University Press. Prerequisites: GWAR Certification before Fall 09, or WPJ score of
70+, or at least a C- in ENGL 109M or ENGL 109W.
110Q: English Grammar for ESL Teachers - Heather
TR 12:00-1:30pm 120A: Advanced Composition - Fanetti
This course provides a survey of the issues in English grammar MW 4:30-5:45pm
that are relevant to the teaching of English as a Second Language. The focus Discourse in the Social Media Era
will be on simple and complex clauses, with particular emphasis on the In this section of Advanced Composition, we will orient our work
structure of noun phrases and the verb phrase system. Students who toward the discursive situation of social media—that is, the ways in which
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 mentionthinking!) will be supported by and focused on teaching—while we will of Carter, Zadie Smith, Carmen Maria Machado, and
course be analyzing the texts we encounter together, we’ll be doing so in others (will be made available on Canvas); Ursula Le
ways that help us understand how to help students engage with literature Guin, Steering the Craft: A 21st Century Guide to
and film. Sailing the Sea of Story and Charles Johnson, The
Presentation: Discussion, light lecture, and group activities. Way of the Writer.
Requirements: Participation, regular reading and writing events, and
a final paper.
Texts: The reading list for the course is not yet finalized, but 130B: Intermediate Poetry Writing - McKinney
likely titles include: MWF 10:00-10:50am
Aristotle and Dante Discover the Secrets of the This course picks up where English 30C left off. Students will
Universe, by Benjamin Alire Sáenz study seminal texts on poetics from poets such as Wordsworth, Breton,
The Hate U Give, by Angie Thomas. Rimbaud, Lorca, Valéry, Pound, Eliot, Hughes, Stevens, and Olson; and
The Hunger Games, by Suzanne Collins students will produce their own poems in response to (or in “conversation
Incidents in the Life of a Slave Girl, by Harriet Jacobs with”) these poetic theories. The course format is lecture/discussion, guided
Maus (Parts I and II), by Art Spiegelman practice in poetic technique, and peer workshop. Quizzes and exams will
Othello, by William Shakespeare cover the assigned reading.
A Raisin in the Sun, by Lorraine Hansberry Prerequisites: English 30A or 30C
Our textbook will be Teaching Young Adult Literature Required Texts: A Little More Red Sun on the Human, Gillian Conoley;
Today, 2nd ed., Judith A. Hayn & Jeffrey S. Kaplan, eds. Toward the Open Field, Melissa Kwasny, Ed.
125B: Writing and the Young Writer - Fanetti 130F: Writing for Television - Williams
MW 1:30-2:45pm MW 12:00-1:15pm
Starting from the premise that masterful communication is the This class will introduce students to the craft and art of television
cornerstone skill for all areas of scholarship and citizenship, we will discuss writing. Students will learn how to pitch, notecard and eventually write an
the ways and means of teaching writing to students at the critical middle and original pilot for television. This course will have a strong emphasis on
secondary levels. We will engage in activities to help us understand our outlining and rewriting. Writing well can be a lonely and arduous task, and
own writing processes and we will read theoretical and practical texts as we there truly is a cost to creating something great, but this effort and focus is
think about best practices for encouraging students to become clear, what makes the outcome so rewarding. The goal of this class is to give
interesting, critical writers, thinkers, and members of community. students the foundation and tools necessary to take a good idea and
Presentation: Discussion, light lecture, and group activities. transform it into a great television show.
Prerequisites: Eng 110J or equivalent, Eng 20 or 120A Presentation: Lecture, discussion, workshop
Requirements: Participation, regular reading and writing events, and Requirements: Weekly quizzes, a story pitch, a television treatment, a
a final project. series bible, 30 notecards and 10 pages of an original
Texts: Teaching Adolescent Writers, by Kelly Gallagher pilot
Teaching Composition: Background Readings 3rd ed.,
ed. T.R. Johnson
125F: Teaching Oral Skills - Clark 130M: Art of Autobiography - Ghosal
TR 4:30-5:45pm MW 3:00-4:15pm
This course will provide students with both the necessary In May 2017, a New Yorker article famously proclaimed that “The
background knowledge and well as the specific pedagogical tools for Personal Essay Boom is Over,” which subsequently prompted the
promoting proficiency in spoken interaction, listening skills, and publication of several articles defending and critiquing autobiographical
pronunciation in second language/foreign language contexts, specifically, writing by turns. While the jury is still out on whether the personal essay is
English as a Second Language (ESL) and English as a Foreign Language alive or dead, in this course, students will read a range of autobiographical
(EFL). writings and theories to explore how this mode of creative expression relates
Presentation: Lecture-discussion. the “self” to the “world.” Challenging pre-conceived ideas about one’s
Prerequisites: None. English 110A and 110A highly recommended, “self” and the veracity of “memory,” students will respond in writing to
Requirements: tutoring, final exam. memoirs that explicitly engage various objects, texts, and documents to
Text: Teacher-prepared course reader construct the memoirist's subjectivity. In addition, students will compose
and workshop a personal essay (10-12 pages) in stages through the duration
of semester by incorporating theoretical and stylistic ideas cultivated from
130A: Writing Fiction - Ghosal the readings and writing response papers. The personal essay is expected to
MW 6:00-7:15pm display awareness of the cultural, political, and/or historical forces shaping
In this course, you will learn to read like a creative writer, reflect the writer’s subjectivity, in keeping with the memoirs students will read in
on the art of narration, and craft short fiction with attention to elements such the course.
as tone, point of view, and voice. While offering exercises and prompts, that Prerequisites: English 30 B or 30 A
help you generate new creative work, the course will require you to be a Presentation: Lecture-Discussion-Workshop
constructive critic of fiction. You will approach your own and your peers’ Requirements: Participation, completing reading assignments,
work as critic/editor during workshop sessions. Aesthetics is informed by Multiple drafts of a 10-12-page autobiographical
cultural and historical concerns. So, our discussions of craft will take into essay; response papers, and other short writing.
the multiplicity of cultural traditions and understand thematic and formal Texts: Will include the following autobiographical texts in
elements of fiction with reference to socio-political milieu. selection or in their entirety—Roland Barthes by
Prerequisites: English 30 B or 30 A Roland Barthes, David Small’s Stitches, Rafia
Presentation: Lecture-Discussion-Workshop Zakaria’s Veil, Terese Marie Mailhot’s Heart Berries,
Requirements: Participation, completing reading assignments, short Karen Tei Yamashita’s Letters to Memory, Amitava
writing exercises, and two polished stories (around 10 Kumar’s Lunch with a Bigot, Eula Biss’s No Man’s
pages). Land, and Ta-Nehisi Coates’s Between the World and
Me.
Texts: Short stories by a diverse range of authors such as
G.E.: Fulfills the Writing Intensive Graduation Requirement
Viet Thanh Nguyen, Rohinton Mistry, Ian McEwan,
and General Education Area C1 (Arts).
Attia Hossain, Justin Torres, Namwali Serpell, Angela140J: The Victorian Imagination - Cope Edition: Bedford/St. Martin’s, ISBN: 978-
M 6:30-9:20pm 0312248802); William Shakespeare: Romeo and Juliet
This course examines representative works by major figures of (New Folger Library/Simon & Schuster, ISBN: 978-
the Victorian Era. Most of the texts are poems. There is one Victorian novel: 0671722852); Hamlet (Modern Library/Random
Oscar Wilde’s The Picture of Dorian Gray (1890). Students will be House, ISBN: 978-0812969092); Henry IV, Part One
expected to recognize and apply common literary terms associated with and Part Two (Longman Cultural Edition, ISBN: 978-
analysis of poetry: allusion, apostrophe, enjambment, iambic pentameter, 0321182746); As You Like It (Penguin/Pelican
metaphor, octave, pathetic fallacy, sestet, sonnet, volta and so on. Students Shakespeare, ISBN: 978-0143130239); A Midsummer
will also demonstrate an awareness of the different literary genres and Night’s Dream: Texts and Contexts (Bedford/St.
fundamental characteristics of Victorian literature and culture. Topics Martin’s, ISBN: 978-0312166212); Much Ado About
include the implications of evolutionary science, the rise of democracy, the Nothing (Signet Classics, ISBN: 978-0451526816)
Pre-Raphaelites (a major emphasis of the course) and aestheticism.
Experience in reading and analyzing poetry is strongly recommended.
For course policies, see the documents called ‘Student Handbook and
Contract for All Upper-Division Courses’, ‘Papers: General Criteria’ and 150A: Early American Literature - Sweet
‘Why My Cell Phone Policy Exists’: https://www.csus.edu/faculty/c/jonas.cope/. MW 1:30-2:45pm
Presentation: Lecture-Discussion When the English Puritans first looked out onto the shores of
Requirements: Reading quizzes every week (including passage America, they saw a “howling wilderness, full of wild beasts and wild men.”
identifications); a midterm examination; a cumulative For newcomers to the American landscape, this wildness could be
final examination or a final essay. alternatively exhilarating, liberating, terrifying, or transcendent. In
Required texts: narratives, short fiction and novels, we will examine how this confrontation
1. Greenblatt, Stephen, editor. The Norton with the wild corresponds with themes of contact, conquest, and captivity
Anthology of English Literature. 10th ed. Vol. E, in colonial through early nineteenth-century America, and we will also
The Victorian Age. Norton, 2018. ISBN: explore the implications of such themes for theories of knowing oneself and
9780393603064. one’s community.
2. Wilde, Oscar. The Picture of Dorian Gray. Edited Requirements: Weekly reading quizzes, short analytical essays, in-
by Michael Patrick Gillespie. 3rd ed. Norton, class writing, final exam.
2003. ISBN: 9780393696875. Presentation: Lecture-Discussion
3. Eagleton, Terry. How to Read Literature. Yale, Texts Likely to Include:
2014. ISBN: 9780300205305. Gordon Sayre, ed: American Captivity Narratives
(Riverside) ISBN: 978-0395980736; Olaudah
Equiano: The Interesting Narrative (Penguin) ISBN:
145A: Chaucer – Canterbury Tales - Zarins 9780142437162; Benjamin Franklin: Autobiography
TR 1:30-2:45pm and other Writings (Signet) ISBN: 978-0451469885;
This course will introduce students to Chaucer’s great poem and Hannah Foster: The Coquette (Oxford UP)
the ways it thinks about power, authority, gender, society, and the pursuit of ISBN: 978-0195042399; Charles Brockden Brown:
truth. We will supplement our reading with primary texts by classical and Ormond (Hackett) ISBN: 978-1603841252; Catharine
medieval authors, as well as secondary readings and audio and film clips Maria Sedgwick: Hope Leslie (Penguin) ISBN: 978-
and studies of medieval manuscripts and facsimiles. Chaucer will make you 0140436761; James Fenimore Cooper: The Last of the
laugh and think. Mohicans (Penguin) ISBN: 978-0140390247
Presentation: Lecture/Discussion
Requirements: Presentation, Papers, Quizzes, Midterm, and Final
150C: American Realism - Sweet
TR 3:00-4:15pm
145B: Shakespeare—Early Plays - Gieger Reacting against the perceived excesses of the Romantic era, with
TR 12:00-1:15pm its often sentimental, idealized, or fantasy representations, U.S. writers in
This course will focus on a sampling of William Shakespeare’s the period between the Civil War and World War I sought what William
plays from the 1590s, plays written during the last decade of the 45-year Dean Howells called a more “truthful treatment” of American life in their
reign of Queen Elizabeth I. We will start with two of his famous tragedies, novels, poetry, short stories, and essays. Through a more unvarnished
the earlier Romeo and Juliet and then, from about 1600, Hamlet. We will depiction of American experience, whether in factories, city streets,
then turn to a sampling from Shakespeare’s history plays, works that merge Southern black communities, Indian boarding schools, or New York salons,
comedy and tragedy as they detail the lives and fates of Prince Hal and literary realism will be our focus as we explore the relationship between art
Falstaff (Henry IV, Part I and Henry IV, Part II plus small portions of Henry and “truth”; the influence of science and technology on American culture;
V). After the midterm, we read two comedies that take their young New the impact of industrialization and urbanization, and the quest for social
Comedy lovers away from corrupt courts and potential death and out into equality and justice in post-Civil War America.
Northrop Frye’s liberating “green world” of Nature, rebirth, and sexuality Presentation: Lecture-discussion.
(As You Like It and A Midsummer Night’s Dream). We will conclude the Requirements: Weekly reading quizzes, short analytical essays, in-
semester with Much Ado About Nothing, a comedy that very nearly becomes class writing, final exam.
a tragedy. Along the way, we will meet some of English (world?) literature’s Texts Likely to Include:
greatest characters (and their famous, oft-quoted words and speeches): Harriet Jacobs: Incidents in the Life of a Slave Girl
Juliet, Romeo, Hamlet, Ophelia, Gertrude, Prince Hal, Falstaff, Rosalind, (Penguin) ISBN: 978-0140437959); Henry James:
Touchstone, Jaques, Puck, Bottom, Titania, Oberon, and Beatrice & Daisy Miller (Penguin) ISBN: 978-0141441344;
Benedick. Selections from The Bedford Companion to Shakespeare (as well Charles Waddell Chesnutt: Tales of Conjure and the
as from the various editions of our texts and some photocopies) will help us Color Line (Dover) ISBN: 978-0486404264; Zitkala
to understand the plays and the cultural, literary, and political cross currents Ša: American Indian Stories (Penguin) ISBN: 978-
of Elizabethan England. 0142437094; Phillip Barrish: Cambridge Introduction
Presentation: Lecture/Discussion to American Literary Realism (Cambridge) ISBN:
Requirements: midterm and final exam, response papers, quizzes, 978-0521050104; and short fiction to be made
performance project, longer writing assignment with available through Canvas.
scholarly research component
Texts: Russ McDonald, The Bedford Companion to
Shakespeare: An Introduction with Documents (2nd150I: Modern American Short Story - Lee 170K: Masters of Short Story - Martinez
TR 4:30-5:45pm T 6:30-9:20pm
Since the publication of Washington Irving's "Legend of Sleepy THE RISE OF THE AMERICAN SHORT STORY
Hollow," Americans have excelled at the genre of the short story. Offers a “A short story must have a single mood and every sentence must
survey of traditional "masters" and recent innovators. Provides an build towards it.” – Edgar Allan Poe
opportunity to read a wide variety of writers (such as Wharton, Chopin, Tracking the rise of the American short story within the long nineteenth
Crane, Gilman, James, Anderson, Hemingway, Faulkner, Ellison, century and then venturing into the twentieth century to explore
O'Connor, Barth, Oates, Proulx, Roth, Carver, and Welty) , and examine a transformations in the genre, allows for the opportunity to witness the
range of forms, themes and experiences that reflect and shape American shaping of a tradition and how it was that it produced lasting, individual,
culture. and distinctive works, voices, and moods. At the heart of the course are three
distinguished voices and three big moods that define an angle of short fiction
that initiated the “American” tradition: Edgar Allan Poe and his melancholic
155E: Hemingway and Fitzgerald - Wanlass horrors; Nathaniel Hawthorne and his dark thoughts; and, Herman Melville
TR 1:30-2:45pm and his philosophical reflections. In order to appreciate how these three
Spurring each other on through their sometimes friendly, voices gave rise to the American short story, we will also turn attention to
sometimes not-so-friendly competition, Hemingway and Fitzgerald precursors and writers of the long nineteenth century. Additionally, we will
produced some of the most remarkable writing in modern American glimpse the writings of some early twentieth century and contemporary
literature. As Scott Donaldson says in his new study, Hemingway and writers, specifically through four major literary shifts: early 19th century
Fitzgerald: The Rise and Fall of a Literary Friendship, “They may have writers in their “search for form” (Irving, Hawthorne, Poe, Melville, James);
thought themselves in competition, but the race is over and both tortoise and latter 19th century writers that explore “regionalism and realism” (Twain,
hare have won.” This course will examine the exceptional talents of these Jewett, Chopin, Gilman, Cather); early 20th century writers with interest in
two closely related and yet very distinctive writers, as seen in a range of “national art form” (Hurston, Welty, Baldwin, Stone, Carver, Welty); and,
their novels and short stories. mid to late 20th century writers creating “the short story today” (Walker,
Presentation: Lecture-discussion (with an emphasis on discussion). Silko, Erdrich, Morrison, Cisneros, Alexie, Lahiri, Díaz). Following the
Requirements: Two papers and an exam. trajectory of thought set by, perhaps, the moodiest writer of all, what is
Texts: (Subject to minor change) Hemingway: The Sun Also suggested of an American “mood” but across traditions of short story
Rises, The Old Man and the Sea, Short Stories of Ernest writing? What did that rise look like and what has it become today?
Hemingway. Fitzgerald: This Side of Paradise, The Presentation: Lecture and lecture-discussion.
Great Gatsby, Tender is the Night, The Short Stories of Requirements: Paragraph Assignments. Pop Analyses. Research Essay
F. Scott Fitzgerald. of 4-5 pages.
Text: The Norton Anthology of Short Fiction
Course Reader
165F: Caribbean Literature: Modern and Contemporary Anglophone
Caribbean Literature - Montgomery
TR 1 :30-2 :45pm 170N: Narrative Poetry - McKinney
This course provides the opportunity to study the ways history and MW 12:00-1:15pm
identity converge and diverge in Caribbean literary and filmic texts. We This course will focus on epic poems in western literary history
begin with V.S. Naipaul’s The Mystic Massuer (1957) and enter colonial from Homer to Alice Notley (1945- ). Through lecture and class
Trinidad and the eve of nationalism, where we meet Ganesh Ramsumair, a discussion, we will explore a variety of aspects of poetic narratives
frustrated writer who becomes a successful politician through his endeavors including myths, themes, methods of composition, social and material
as a masseur who can cure illness. With Earl Lovelace’s The Dragon Can’t culture, and history.
Dance (1979) and Perry Henzel’s The Harder They Come (1972)—the film Presentation: Lecture-Discussion, student presentation, quizzes and
that “brought reggae to the world”—we will explore postcolonial struggles exams.
for self-determination and equality, through Trinidadian Carnival and the Required Texts: The Iliad, Homer (Robert Fagles translation)
street life of Jamaica. We will interrogate constructions of masculinity, The Aeneid, Virgil (Robert Fagles translation)
visions of performance, and (un)belonging, and analyze the violence, The Inferno, Dante (John Ciardi translation).
criminality, and police brutality in these island locales. The course then Paradise Lost, John Milton
turns to the intersections of gender, sexuality, and migration with Jean Rhys’ The Rime of the Ancient Mariner, Samuel Taylor
prequel and response to Charlotte Bronte’s “madwoman in the attic” in Wide Coleridge
Sargasso Sea (1966), Jamaica Kincaid’s postcolonial and magically real The Descent of Allete, Alice Notley
short story collection At the Bottom of the River (1983), and the 1937 Haitian
genocide unearthed and reimagined in Edwidge Danticat’s The Farming of
Bones (1998). We end the course with Nalo Hopkinson’s science fiction
novel Midnight Robber (2000). Hopkinson takes us from island to the Carib- 180B: Forms African-American Fiction - Montgomery
colonized planet of Toussaint where we revisit Carnival and examine TR 10:30-11:45am
Caribbean and Yoruban folklore. Lastly, the course equips students with the This course explores five major categories: the Neo-Slave
reading, writing, and critical thinking skills necessary to analyze the Narrative (Arna Bontemps’ Black Thunder), Blues, Jazz and Urban
legacies of colonialisms in the Caribbean(s) we encounter textually, and Realism, (Ralph Ellison’s Invisible Man) Postmodernist Aesthetics (Toni
how and to what extent race, gender, and language intersect in the authors’ Morrison’s Song of Solomon), Black Speculative Fiction (Octavia Butler’s
conceptions of “the island” and of the emigration from it. Kindred and Kiese Laymon’s Long Division). Addressing key “events” or
Presentation: Lecture on writers, race, gender, and historical “moments,” we will analyze the determining effects of race relations on the
contexts, and discussion of exchanging ideas, writing reorientation of U.S. racial, sexual, and regional/transnational politics from
skills, and conveying information. in the New Negro Renaissance to the 2000s. We will also closely consider
Requirements: Active participation, Midterm essay, two short verbal and literary modes including, African retentions, oral traditions,
reflection papers, final exam. signifying, folklore, and music, as well as their evolutions and how they
Texts: V.S. Naipaul’s The Mystic Masseur, Earl Lovelace’s have created a uniquely African American literary voice and how that voice
The Dragon Can’t Dance, Jamaica Kincaid’s At the has transformed to fit this contemporary moment. In an effort to critically
Bottom of the River, Edwidge Danticat’s The Farming map the trajectories of contemporary African American literature we will
of Bones, Jean Rhys, Wide Sargasso Sea, Nalo be interrogating not only the historical and political contexts of the works,
Hopkinson’s Midnight Robber but also the ways in which issues of gender, sexuality, and class specifically
inform the works. Key questions for the course are: 1) Does literature havea distinctive social purpose? and What makes a text “black”? 2) What does transnationalism. We will also explore the concept of home and how our
it mean to write about resistance and revolution, even when the outcomes ideas about family, memories, and cultures shape our sense of identity and
are considered unsuccessful? 3) How does race play a determinative role in place in society.
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
R 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, andYou can also read
