Lower Division (1000–2000) Courses
Note: For courses with special content, course numbers listed are linked to course descriptions above the table.
|Course #||Section||Class #||Time(s)||Room||Course title||Instructor|
|AML 2070||0211||10402||MWF 2||MAT 0004||Survey of American Literature||Ashley Clemons|
|AML 2070||03A5||10403||M W F 8||MAT 0009||Survey of American Literature||Lauren Cox|
|AML 2070||1625||10485||T 10/ R 10-11||CBD 0212||Survey of American Literature||Jill Coste|
|AML 2070||1626||10486||M W F 8||MAT 0051||Survey of American Literature||John-Mark Robinson|
|AML 2070||5613||10487||T 8-9/ R 9||TUR 2354||Survey of American Literature||Rachal Burton|
|AML 2410||1629||10488||M W F 8||CBD 0210||Model Minorities, “Exotic Others,” and Crazy Rich Asians: Exploring Asian American Identities in the U.S.||Min Ji Kang|
|AML 2410||3698||10489||M W F 2||MAT 006||American Autobiography: Life-Writing in the Margins||e Jackson|
|AML 2410||8974||10490||T 8-9/ R 9||MAT 0115||Body Matters: The Body in Contemporary American Culture||Burcu Kuheylan|
|CRW 1101||0218||12759||T 3-5||MAT 0118||Beginning Fiction Writing||Drew Dickerson|
|CRW 1101||1648||12760||T 6-8||MAT 0118||Beginning Fiction Writing||Earnest Buck|
|CRW 1101||1649||12761||R 9-11||MAT 0118||Beginning Fiction Writing||Daniel Grossman|
|CRW 1101||1650||12762||R 9-11||MAT 0006||Beginning Fiction Writing||Jackson Armstrong|
|CRW 1101||1879||12763||F 3-5||WEIM 2056||Beginning Fiction Writing||Savannah Horton|
|CRW 1301||1651||12791||W 3-5||MAT 0251||Beginning Poetry Writing||Erick Verran|
|CRW 1301||1652||12792||R 9-11||RNK 0215||Beginning Poetry Writing||Mallory Smith|
|CRW 1301||1653||12793||F 6-8||TUR B310||Beginning Poetry Writing||Michelle Lesifko-Bremer|
|CRW 1301||398E||12794||R 9-11||MAT 0009||Beginning Poetry Writing||Allen Thomas|
|CRW 1301||7622||12795||W 9-11||MAT 0007||Beginning Poetry Writing||Cheyenne Taylor|
|CRW 1301||8060||12796||F 6-8||FLG 0275||Beginning Poetry Writing||Ashley Kim|
|CRW 2100||1656||12797||T 3-5||MAT 0151||Fiction Writing||Elizabeth Yerkes|
|CRW 2100||2333||12798||R 9-11||TUR 2334||Fiction Writing||John Bolen|
|CRW 2100||2500||12799||T 6-8||MAT 0151||Fiction Writing||Timothy Schirmer|
|CRW 2100||37B0||12827||F 3-5||MCCA 3194||Fiction Writing||Timothy Schirmer|
|CRW 2100||8058||12828||T 9-11||MAT 0007||Fiction Writing||Dan Shurley|
|CRW 2300||1658||12829||W 9-11||MAT 0009||Poetry Writing||Stiofan DeBurca|
|CRW 2300||37B8||12830||F 6-8||WEIL 0234||Poetry Writing||Audrey Hall|
|CRW 2300||5546||12831||R 9-11||MAT 0014||Poetry Writing||Stephanie Maniaci|
|ENC 1136||0444||23269||T 8-9/ R 9||MAT 0108||Multimodal Writing||Emily Brooks|
|ENC 1136||0446||23270||T 2-3/ R 3||MAT 0114||Multimodal Writing||Brandon Murakami|
|ENC 1136||045A||23272||M W F 7||TUR 2349||Multimodal Writing||Ayanni Cooper|
|ENC 1145||3309||13704||M W F 9||CBD 0212||Why Read Now?||Mitch Murray|
|ENC 1145||3312||13705||M W F 3||MAT 0116||Witches, Shrews, and Scorned Women: Writing about Women and Anger||Meghna Sapui|
|ENC 1145||3318||13706||T 2-3/ R 3||MAT 0107||Lovestruck||Laken Brooks|
|ENC 1145||3337||13707||T 8-9/ R 9||CBD 0210||Writing About Queer Young Adult Literature||Megan Fowler|
|ENC 2210||12A0||TBA||Technical Writing||Rebecca McNulty|
|ENC 2210||4B48||13710||T 8-9/ R 9||DAU 0342||Technical Writing||Chris Smith|
|ENC 2210||4B50||13738||M W F 2||WEIM 1076||Technical Writing||Fiona Stewart-Taylor|
|ENC 2210||5072||25072||M W F 8||WEIM 1094||Technical Writing||Andrea Medina|
|ENG 1131||1363||13508||MWF 4 T 9-11||WEIL 408A/ WEIL 408E||Writing Through Media: Fiction Into Film||Corinne Matthews|
|ENG 1131||18C3||13537||T 4/ R 4-5
|WEIL 408A||Writing Through Media: After Us: Media Futures||Natalie Goodman|
|ENG 1131||1802||13536||MWF 6 M 9-11||ARCH 0116||Writing Through Media: Comics, Adapt, Remake||Charles Acheson|
|ENG 1131||1983||13538||MWF 5 W 9-11||WEIL 408A/ ARCH 0116||Writing Through Media: Media, Space & Place||Ashley Tisdale|
|ENG 1131||2057||13539||MWF 3 R 9-11||WEIL 408A||Black Horror||Chesya Burke|
|ENG 2300||1807||13540||MWF 4 T9-11||ROL 0115||Film Analysis||Mandy Moore|
|ENG 2300||1809||13541||MWF 5 M 9-11||ROL 0115/ TUR 2322||Film Analysis||Tyler Klatt|
|ENG 2300||4C45||13542||T 7/ R 7-8
|ROL 0115/ LIT 0101 / TUR 2322||Film Analysis||Vincent Wing|
|ENG 2300||7485||13543||MWF 6 M E1-E3||ROL 0115/ TUR 2322||Film Analysis||Zach Shaw|
|ENG 2300||8641||13330||MWF 2 T 9-11||TUR 2322||Film Analysis||Thomas Johnson|
|ENL 2012||1827||13438||MWF 2||WEIM 1092||Survey of English Literature Medieval-1750||Deepthi Siriwardena|
|ENL 2022||1830||13439||MWF 9||RNK 0215||Survey of English Literature 1750-Present||Claire Karnap|
|ENL 2022||8049||13440||T 10/ R 10-11||TUR 2349||Survey of English Literature 1750-Present||Elizabeth Lambert|
|LIT 2000||1A24||17582||MWF 3||TUR B310||Introduction to Literature||Yvonne Medina|
|LIT 2000||1A28||17583||MWF 7||CBD 0210||Introduction to Literature||Ivette Rodriguez|
|LIT 2000||1A31||17584||MWF 4||CBD 0210||Introduction to Literature||Nicole Green|
|LIT 2000||1A35||17611||T 2-3/ R-3||CBD 0210||Introduction to Literature||Brianna Anderson|
|LIT 2000||1A42||17612||MWF 6||TUR 2318||Introduction to Literature||Cassidy Sheehan|
|LIT 2000||19CC||17580||MWF 9||LIT 0125||Introduction to Literature||Maxine Donnelly|
|LIT 2000||19CD||17581||T 8-9/ R 9||TUR B310||Introduction to Literature||Karina Vado|
|LIT 2000||2744||17614||T 7/ R 7-8||TUR B310||Introduction to Literature||Satit Leelathaworndnai|
|LIT 2110||4C93||17616||MWF 2||LIT 0219||World Literature Ancient to Renaissance||Rachel Hartnett|
|LIT 2120||03A6||17617||MWF 2||MAT 0012||World Literature 1750 to Modern||Kevin Cooley|
|LIT 2120||2504||17618||MWF 9||LIT 0127||World Literature 1750 to Modern||Jacqueline Schnieber|
Model Minorities, “Exotic Others,” and Crazy Rich Asians: Exploring Asian American Identities in the U.S.
Min Ji Kang
Even with Asian Americans’ growing representation in literature and film, their depictions in these media are still fraught with stereotypes and generalizations. “Asian” is a broad category that includes, but is not limited to, persons who trace their roots to China, Japan, Korea, Burma (or Myanmar), Vietnam, Malaysia, Indonesia, Sri Lanka, the Philippines, the Pacific Islands, Cambodia, Laos, Thailand, India, Bangladesh, or Pakistan. Given the diverse geographies and histories that Asian American encompasses, this course will explore racial identity formations in a U.S. context. Our central questions include these: What does it mean to be considered Asian American? What are the formative experiences and histories that define Asian America? What is the relationship of Asian Americans to the U.S. nation-state and to other racial groups?
We will be looking at an array of Asian-American novels, plays, poetry, and films in our course. Our potential texts include:David Henry Hwang’s M Butterfly (1988), Bharati Mukherji’s Jasmine (1989),Chang-rae Lee’s Native Speaker (1995), short stories byAimee Phan, and poetry by Marilyn Chin, Jessica Hagedorn, and Lawson Fusao Inada. Our discussion will include (but are not limited to) these issues: identity and community, im/migration, globalization, citizenship, gender, and imperialism.
Assignments will consist of an in-class presentation, a close reading paper, a creative-analytical midterm that explores one’s own racial identity formation, and a final research paper.
American Autobiography: Life-Writing in the Margins
This course takes a dual approach to American autobiography “in the margins”: it explores writings by marginalized authors, and writings that do not take the conventional form of the full-length memoir. We begin with groundwork in the basic history of American autobiography, introducing some theories of autobiographical literature to offer key contexts for analyzing our primary sources. We will consider how different life-writing modes have been developed by various subgroups within America, from Black slave writings, to immigrant experiences, to queer and trans subjectivity. Through engaging with such primary sources, we will critically analyze how life-writing shapes subjectivity and constructs identity. Our texts will come from different mediums, including prose, poetry, graphic narrative, and photography. Potential titles include Gloria E. Anzaldúa’s Borderlands/La Frontera, Alison Bechdel’s Fun Home, Frederick Douglass’ Narrative of the Life of Frederick Douglass, and perzines from the Civic Media Center. Writing assignments will include a set of short responses in the form of a scrapbook, two close reading analyses: one on a single text of their choosing and one comparative, a longer traditional research paper, and a creative final project.
- Developing critical writing skills including argumentative analysis & close reading
- Understanding how to analyze multiple mediums, including prose, poetry, and visual cultures
- Understanding some of the scholarly conversation concerning American autobiography
- Understanding diverse/marginalized viewpoints within American culture
- Understanding genre and canons within American literary studies
Body Matters: The Body in Contemporary American Culture
Although we lead bodilylives, we rarely question the implications of this fact. American media and social media bombard us daily with normative ideals of beauty, fitness, sex appeal, and health. Contrarily, medical and academic attention to the body tends to focus on non-normative orientations like having disabled, enhanced, or transgendered bodies. Such renderings also emphasize physical discomfort and disruptions such as injury, illness, and aging—experiences that heighten our awareness of inhabiting vulnerable bodies. Drawing on essays about body matters, this course considers academic and media discourse to explore key dimensions of living bodily lives in contemporary American culture. We will examine everyday practices of physically sustaining and pampering, financially investing in, and fashionably dressing the body. We will also consider important issues such as race, gender, and disability.
Essays that celebrate subjective individual experience are vital to our course’s hybrid approach toward body matters. Nora Ephron’s humorous “A Few Words About Breasts: Shaping Up Absurd” finds its place on our syllabus alongside more contemplative pieces by Laura Kipnis (“Sexual Paranoia”), Thomas Chatterton Williams (“Black and Blue and Blond”), and Barbara Ehrenreich (“Welcome to Cancerland”).
All readings for the course are short and will be available either on Canvas or online. You will composefive 200-word responses Canvas discussion questions; 2 reading reports of 500 words each; 1 close-reading and 1 comparative analysis essay – each 1,500 words; and 1 personal essay of 1,000 words. Possible essays we will read include:
Zora Neale Hurston – “How It Feels to be Colored Me”; Richard Selzer – “The Specimen Collector”; Wesley Morris – “Last Taboo”; Susan Sontag – “Illness as Metaphor”; James Thurber – “Sex Ex Machina”; Phyllis Rose – “Tools of Torture: An Essay on Beauty and Pain”; Donna Harraway – “The Cyborg Manifesto”; Nancy Mairs – “On Not Liking Sex”; Eliese Colette Goldbach – “White Horse”; Nancy Mairs – “On Being a Cripple”; Lewis Thomas – “The Lives of a Cell”; Jordan Kisner – “Thin Places”; and an excerpt from Naomi Wolf’s “The Beauty Myth.
Why Read Now?
What does it mean to actually read something? And why should we? How do we stitch artistic and cultural texts into the fabric of our individual and collective lives, and, more importantly, to what ends?
This course seeks answers to these fundamental questions about reading. Often understood as a solitary act, we will see quite the opposite: namely, that reading is a social act. Reading helps us to narrate—and thus makes graspable to thought—the relationships that make up our everyday lives. Given this, then, how does one not just read but read well? And more particularly, how does one read well in the 21stcentury? How does one read generously, ethically, politically? How can reading, and the shared experience of a text, enable us to reflect on and shape the makeup of our own lives?
Our readings will cross a diverse range of historical periods, genres, and mediums—novels, life writing, poetry, comics. What links them all, however, is their central focus on the creative acts of writing, of reading, and of the creation of readerly experience.
This course will be of interest to students wanting to learn about how literature, and culture more generally, underwrite daily life; how to become conscious readers of all sorts of cultural “texts”; and how to better understand how art and culture play fundamental roles in how we relate to each other at all levels of social life, in ways seen and unseen.
Texts will likely include:
- Ray Bradbury, Fahrenheit 451
- Ted Chiang, “The Story of Your Life”
- Anna Moschovakis, Eleanor, or The Rejection of the Progress of Love
- Otessa Moshfegh, My Year of Rest and Relaxation
- Claudia Rankine, Citizen
- Charles Yu, How to Live Safely in a Science Fictional Universe
Witches, Shrews, and Scorned Women: Writing about Women and Anger
At a time when conventional gender norms are being scrutinized, overhauled, and even rejected, the stereotype of the quietly enduring, passive woman is giving way to the woman who refusesto subdue her anger. We find mad women, bad women, and enraged women inside and outside the literary world. In Beowulf, Grendel’s mother avenged her son; Chaucer’s Wife of Bath refused to be subservient to scriptural teachings on women’s role in marriage. Given such literary history, why do more recent expressions of women’s anger sometimes strike a nerve? If proud and angry Achilles became a Homeric hero of epic proportions, tennis champion Serena Williams’s pride and anger at the 2018 U.S. Open finals played much differently. If women breaking their silence about the wrongs that they have quietly endured are ostracized, demonized, and punished, then what are the acceptable alternatives for them? This course will investigate the gendered politics of anger in literature and culture, grappling with such questions in the shockwaves of #MeToo.
We will compare writers’ and other creators’ portrayals of angry women and women’s anger, crossing historical historical periods and geographical regions. Texts will include (but not be limited to): selections from Beowulf, selections from Homer’s Odyssey, Euripides’ Medea,Bacchae, Aristophanes’Lysistrata, selections from The Canterbury Tales(The Wife of Bath’s Prologue and Tale) by Geoffrey Chaucer, The Taming of the Shrewby William Shakespeare, Gil Junger’s Ten Things I hate About You, Anne Bradstreet’s poems, Charlotte Bronte’s Jane Eyre, Jean Rhys’s Wide Saragasso Sea, Charles Dickens’ Great Expectations, Sylvia Plath’s Bell Jar, Maya Angelou’s poems, Margaret Atwood’s Penelopiad, Gillian Flynn’s Gone Girl, Claire Messud’s The Woman Upstairs, selected episodes from Crazy Ex-Girlfriend, selected episodes from How to Get Away with Murder, selected episodes from Hannah Gadsby’s Nannette, A Room of One’s Ownby Virginia Woolf, Women and Power: A Manifestoby Mary Beard, What to Do When You’re Raped: An ABC Handbook for Native Girls by Lucy M. Bonner, and Valerie Solana’s Scum.
Assignments may include in-class presentations, brief reading responses, a creative assignment (a design for a book cover or album cover that distills a text’s thematic import), an annotated bibliography, and two analysis papers. With each of these assignments, students will progressively develop close reading skills and engage with the class theme.
From literature to pop culture, love remains one of the most popular topics in art, literature, and popular culture. As consumers we are lovestruckby the very idea of love. According to media studies scholar Peter G. Christenson, the top-40 songs for the last half of the 20thcentury were predominantly about “romantic and sexual relationships.” Over time, the topic of lovehas been an evolving conversation that is social as well as personal. Love is a sequence between the lover(s), between physical distance and time, and between changing institutional laws. This class will embrace an interdisciplinary approach to studying lovein various contexts and forms.
In Unit One we will consider love in Renaissance England by analyzing sonnet sequences to and between lovers, such as Sidney’s Astrophel and Stella and Shakespeare’s sonnets. We will compare these love poems to social mores and laws. In Unit Two, we will study changing ideas of gender norms and sexuality in the Victorian period. Many of this unit’s texts present love through serial short stories/novels or personal letters. In Unit Three we explore how mass media presents new ways of talking about love (even between diverse partners), such as in sequences of music videos (like Beyonce’s Lemonade) and in comic strips. Together, these units demonstrate how ideas of love have developed in British and American culture through various, star-crossed tensions.
Writing assignments for this class may involve an introductory and a concluding thematic analysis, unit reflections, a presentation of a love-related book or item from UF Libraries’ special collections, a blog post/op-ed, a book/film review, and a causal analysis about a romantic subculture or piece of legislation.
Writing About Queer Young Adult Literature
The rise of online media campaigns such as #WeNeedDiverseBooks, a 2014 Twitter campaign which sought to expose the lack of diversity in young adult (YA) literature, has prompted an influx of LGBT+ representation in YA in recent years. This rise has led to an expansion of queer identities represented, expanding beyond the lesbian and gay components of the LGBT+ acronym to encompass bisexuality, asexuality, trans identity, and beyond. In addition, the proliferation of queer characters in recent years has allowed LGBT+ representation to move beyond the gay problem novel of 1980s YA to a much wider range of genres and mediums, including fantasy, science fiction, historical fiction, and mystery as well as novels, comics, and film/television.
This course will begin by briefly sketching queer representation in youth media of the past for students, from the queer connotations of early teen films such as Rebel Without A Cause (1955) to earlier queer-themed YA novels like Annie on My Mind (1982) and Deliver Us From Evie (1993). We will then move into the contemporary to examine a generous swath of texts representing a broad range of queer identities, genres, and mediums, such as webcomic Check, Please (2013) and television series Shadowhunters (2016). Our analysis of these texts will consider a range of concerns from authors’ various approaches to intersectional identity of queerness alongside race and/or disability to the ways in which speculative genres can inflect and inform more nuanced representations of queer identity. By the end of this course, students should have a thorough understanding of the conversation around LGBT+ representation in youth-oriented texts, the ways in which these representations have expanded in recent years, and a sense of the possibilities for LGBT+ identity in young adult literature moving forward.
ENC 1145 is a writing intensive course. Writing assignments will include weekly prompted analytical responses to the themes and texts of the week, a close reading essay, a comparative analysis of two/more texts from the course, and a final research project which engages with the major themes of the course. In addition, students will be asked to short writing intensive responses in class.
List of Potential Novels/Texts:
- Rebel Without A Cause (1955)
- Annie on My Mind (1982)
- Select stories from The Bane Chronicles (2013)
- The Dream Thieves (2013)
- Check, Please! (2013)
- Every Heart A Doorway (2016)
- If I Was Your Girl (2016)
- Not Your Sidekick (2016)
- The Gentleman’s Guide to Vice and Virtue (2017)
- They Both Die At the End (2017)
- The Legend of Korra: Turf Wars (2017)
- Select episodes of Riverdale (2017)
Writing Through Media: Fiction Into Film
Writing Through Media: After Us: Media Futures
Writing Through Media: Comics, Adapt, Remake
Writing Through Media: Media, Space & Place
Writing Through Media: Black Horror