Undergraduate Courses, Summer 2012

Times and locations of class meetings are subject to change. Consult the UF Schedule of Courses for official class times and locations and an explanation of the class period abbreviations.

Upper Division (3000–4000) Courses, Summer Sessions A & B

Note: Only course descriptions are listed below. For a comprehensive summary of course numbers, sections, times and locations, titles, and instructors, see the following web page:

ENC 3310

Advanced Exposition

Lisa Dusenberry

This advanced exposition course will assist you in refining and improving your academic and professional compositions. The primary focus will be on various forms of expository writing (definition, analysis, compare and contrast, and description). We will read a number of published essays, which will serve less as models than as examples of how to probe new areas of thought concerning expository writing and writing as a process. Throughout the semester, there will be an emphasis on self-evaluation and the principles of revising prose. You will write 4 essays, participate in writing workshops in class, and learn to evaluate and develop your own writing style. This course satisfies all Gordon Rule Requirements.


ENL 4333

Shakespeare: The Tragedies

R. Allen Shoaf

This course will be devoted to the ten tragedies Shakespeare wrote in his career, with especial attention to three factors: his transformation of the genre (most especially in King Lear); the rhetorics he renewed (e.g., pun) or refined (e.g., synoeciosis; paradox) to articulate his tragic vision; and his response to the sacramentality of nature that enabled him to comprehend and mourn humans’ catastrophic denials and perversions of nature, sexual nature in particular, in consequence of which self-inflicted optionlessness must lead inevitably to the end of the human.

Mandatory attendance and two essays (5–7 pages in length), along with unannounced quizzes, will constitute evaluation of your performance in the course.

The one text for the course will be the Norton Shakespeare, 2nd edition, which I will order through the university’s stipulated portal.


LIT 3383

American Women's Poetry

Marsha Bryant

The term women’s poetry isn’t as simple as it appears. Does it mostly mean poetry by, about, or for women? Does it mean the same thing as feminist poetry? Does it always contest literary tradition or counter popular culture? Does it gravitate toward victims or perpetrators? Is it closer to Sappho or chick lit? How does the WP label affect the ways we read, and how should it? Does it hover somewhere between These are some of the larger questions we’ll consider in this course. Note that your careful preparation for and participation in discussion are important for the success of this class.

Assignments include a panel presentation, 1 short paper (close reading), 1 medium-length paper (anthology review), and a parody.



LIT 4333

Literature for the Adolescent

Anastasia Ulanowicz

In this course, we will account for major themes and trends in American “young adult” (or “YA”) literature. As we analyze each of the assigned texts, we will pay particularly close attention to the ways in which works of YA literature draw on culturally-constructed notions of adolescence to shape the adolescent characters within them – and how, in turn, they seek to draw in and interpellate the adolescents who read them. Additionally, we will address issues of class, race, gender, sexuality, national identity, and consumerism implicit within the assigned texts.


AML 3041

American Literature II

Patrick McGowan

In the 1920s, a new style, termed hard - boiled, emerged in American popular literature. As the voice of the modern American detective story, the hard - boiled style can be described as cynical, objective, hyper-masculine, and modern.

This course will mainly focus on hard-boiled detective fiction from the twenties and thirties within its social and cultural contexts. This context includes urbanization and urban migration, the broadening of mass culture, shifting gender dynamics, organized crime and the modernization of policing. We will explore how hard - boiled detective fiction influenced the work of more canonical modernist authors, and was later translated into film noir. We will further explore the ways in which the hard-boiled has been repurposed to create feminist and anti-racist works, and re-shaped within the changing social context of the late twentieth and twenty-first centuries.

Primary texts will include a mix of short stories and novels. We will also read a few short supplementary texts by scholars of hard - boiled fiction. Written requirements will likely include reading quizzes, two short response papers, and a final 5- 6 page paper.


AML 4242

The Rich, Poor & In-Between: Class Portrayals in Twentieth-Century American Literature

Robin Brooks

Quite often in the media we see and hear messages about the changes in people’s lifestyle and class status. US politics have been embittered because of the changing economy and the resulting reverberations, and frequently, the emphasis tends to be on improving the standard of living for the middle class. However, this course aims to investigate all levels of class and their portrayals in American literature. Specifically, the overarching question for this course asks: how does contemporary literature participate in the discourse on class? We will examine the various ways in which American literary artists interweave class dynamics into their narratives. We will also read theoretical texts to help in our analysis of the literary works. Class levels are not easily defined, as they do not fit into neat categories and they are sometimes controversial, so students should approach this class ready to participate and provide their insights. The course also acknowledges that people’s class intersects with other factors such as race, gender, and sexuality.

Assignments will most likely include one presentation (5-7 minutes), a short critical essay, a final research paper and reading quizzes.


ENC 3312

Advanced Argumentative Writing

Sid Dobrin

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


ENL 3241

The Romantic Period

Donald Ault

This course will focus on Blake, Coleridge, and Byron, with some readings in Wordsworth, Keats, and selected literary theoretical texts. The work in the course will emphasize close reading of texts that present interpretive difficulties at the level of their material production (including variant editions, revisions, different versions, spatial layout of syntax, etc.), taking into account the tendency of Romantic texts to resist being “finished.” We will read these texts against the grain in order to explore interferences within their ideological and textual fields.

Text requirement: course pack from Xerographic Copy Center, 927 NW 13th St.

Requirements: good attendance, productive class participation, several short papers, and a final paper/project.


LIT 3043

Modern Drama: Learning by Doing

Sid Homan

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

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

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

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


LIT 4331

Children's Literature

John Cech

Children’s literature has become, in recent years, one of the most dynamic areas of publishing and media production. Currently, one of the wealthiest people in the world is a writer of children’s books, and each year films drawn from stories for children or adolescents are among the biggest box office hits. There is even a television channel devoted to the entertainment of babies. Children’s literature has, of course, been with us from the beginning and is the oldest and first form of literature that we experience. This course is meant to take you on a journey through this essential part of our literature -- its history, genres, major figures, and some of its more familiar and celebrated works.