Class meeting locations are subject to change. Consult the following page for an explanation of the class period abbreviations.
Fall 2024
Lower-Division (1000-2000) Courses
Note: Course numbers listed in the table are linked to course descriptions below.
| Course # | Class # | Time(s) | Room | Course title | Instructor | |
|---|---|---|---|---|---|---|
| AML 2070 | 10191 | M W F 5 | MAT 0007 | Survey of American Literature | TBA | |
| AML 2070 | 10192 | M W F 7 | NORM 1001 | Survey of American Literature | TBA | |
| AML 2070 | 26300 | T 4 / R 4-5 | FLI 0115 | Survey of American Literature | TBA | |
| AML 2410 | 10224 | M W F 6 / M E1-E3 | TUR B310 | Adaptations & Retellings: Glow-Up or No? | Dean | |
| CRW 1101 | 11457 | M 6-8 | MAT 0006 | Beginning Fiction Writing | TBA | |
| CRW 1101 | 11458 | F 6-8 | TUR 2336 | Beginning Fiction Writing | TBA | |
| CRW 1101 | 23998 | W 9-11 | FLI 0121 | Beginning Fiction Writing | TBA | |
| CRW 1301 | 11476 | W 9-11 | AND 0032 | Beginning Poetry Writing | TBA | |
| CRW 1301 | 11477 | R 9-11 | MAT 0003 | Beginning Poetry Writing | TBA | |
| CRW 1301 | 26304 | W 9-11 | MAT 0011 | Beginning Poetry Writing | TBA | |
| CRW 2100 | 11478 | R 6-8 | TUR 2354 | Fiction Writing | TBA | |
| CRW 2100 | 11479 | W 9-11 | MAT 0102 | Fiction Writing | TBA | |
| CRW 2100 | 24048 | R 9-11 | FLI 0121 | Fiction Writing | TBA | |
| ENC 1136 | 16175 | M W F 4 | TUR B310 | Multimodal Writing and Digital Literacy | TBA | |
| ENC 1136 | 23108 | T 7 / R 7-8 | ONLINE | Multimodal Writing and Digital Literacy | TBA | |
| ENC 1136 | 19220 | M W F 6 | ONLINE | Multimodal Writing and Digital Literacy | TBA | |
| ENC 1145 | 11959 | M W F 5 | MAT 0010 | Writing About Hell | Scott | |
| ENC 2210 | 11961 | ASYNCH | ONLINE | Technical Writing | TBA | |
| ENC 2210 | 11962 | ASYNCH | ONLINE | Technical Writing | TBA | |
| ENC 2210 | 11973 | ASYNCH | ONLINE | Technical Writing | TBA | |
| ENC 2210 | 16708 | ASYNCH | ONLINE | Technical Writing | TBA | |
| ENC 2210 | 26305 | ASYNCH | ONLINE | Technical Writing | TBA | |
| ENC 2210 | 26306 | ASYNCH | ONLINE | Technical Writing | TBA | |
| ENC 2210 | 16801 | ASYNCH | ONLINE | Technical Writing | TBA | |
| ENG 1131 | 11856 | M W F 4 / M 9-11 | MAT 0013 / MAT 102 | Writing Through Indigenous Media: | TBA | |
| ENG 2300 | 11865 | M W F 5 / M 9-11 | TUR 2334 | Film Analysis | TBA | |
| ENG 2300 | 11866 | M W F 6 / M E1-E3 | TUR 2322 / TUR 2334 | Film Analysis | TBA | |
| ENG 2300 | 11867 | T 4 / R 4-5 / T E1-E3 | TUR 2322 / ROL 0115 | Film Analysis | TBA | |
| ENG 2300 | 11784 | M W F 7 / T E1-E3 | TUR 2322 / TUR 2334 | Film Analysis | TBA | |
| ENG 2820 | 26256 | W 9-11 | MAT 0105 | What is the English Major? | Gilbert | |
| ENL 2012 | 11831 | T 5-6 / R 6 | ONLINE | Survey of English Literature, Medieval to 1750 | TBA | |
| ENL 2022 | 11832 | M W F 7 | MAT 0007 | Survey of English Literature, 1750 to Present | TBA | |
| LIT 2000 | 13606 | M W F 5 | MAT 0009 | Introduction to Literature | TBA | |
| LIT 2000 | 13607 | M W F 3 | TUR B310 | Introduction to Literature | TBA | |
| LIT 2000 | 13608 | M W F 7 | MAT 0009 | Introduction to Literature | TBA | |
| LIT 2000 | 13609 | M W F 4 | MAT 0118 | Introduction to Literature | TBA | |
| LIT 2000 | 13617 | T 2-3 / R 3 | TUR B310 | Introduction to Literature | TBA | |
| LIT 2000 | 13618 | M W F 8 | MAT 0102 | Introduction to Literature | TBA | |
| LIT 2000 | 23149 | M W F 3 | ONLINE | Introduction to Literature | TBA | |
| LIT 2000 | 26307 | T 4 / R 4-5 | ONLINE | Introduction to Literature | TBA | |
| LIT 2110 | 13619 | T 5-6 / R 6 | TUR B310 / MCCA 2186 | World Literature, Ancient to Renaissance | TBA | |
| LIT 2120 | 13620 | M W F 5 | MAT 0006 | World Literature, 17th-Century to Modern | TBA |
Course Descriptions
AML 2410
Adaptations & Retellings: Glow-Up or No?
CR Dean
We’re fascinated by the past and by change as a society. We love to reencounter the past, whether it is a film adaptation like Keira Knightley in Pride and Prejudice, Angela Carter’s fairytale modernizing adaptations, reproductions like Nosferatu, modernizations of beloved things like The Little Mermaid, additional world-building like Brian Herbert’s additions to the Dune universe, adapting historical materials to literary formats, or retaining literary form while adapting it to a graphic narrative. Mark Twain once stated that “[t]here is no such thing as an original idea… We simply take a lot of old ideas and put them into a sort of mental kaleidoscope” – this class will bridge the gap between original content and its modern re-telling, examining conceptual evolutions over time. Some of these concepts will be ideas that are transatlantic that have deeply influenced American literary thought that have been re-written by American authors as contributions to the field. In doing so, we will delve into questions like: How do adaptations change the original narrative? How or do adaptations reflect current climates in American culture? How do adaptations challenge or reinforce traditional power structures? How are issues contemporary to the source material addressed within adaptations? Grounded in Linda Hutcheon’s A Theory of Adaptation, this course will center its learning from adaptations of American literature on three core ideas:
- “An acknowledged transposition of a recognizable other work or works” (Hutcheon 8).
- “A creative and an interpretive act of appropriation/salvaging” (Hutcheon 8).
- “An extended intertextual engagement with the adapted work” (Hutcheon 8).
Our readings will include three written adaptations including Tracey Deonn’s Legendborn, Stephen Graham Jones’ The Buffalo Hunter Hunter, and two graphic adaptations, Gareth Hind’s Poe: Stories and Poems, and Octavia Butler’s Kindred, alongside short excerpts of original content to contextualize readings, and scholarly articles to aid in understanding and analyzing these very different adaptations and retellings. These texts explore transatlantic ideas like Arthurian myth, adaptation of historical documents into a novel, visually adapting Edgar Allan Poe’s works, and an adaptation of the 20th century text into a 21st piece of visual media. This course is for those who are intrigued by re-reading, retellings, and how stories evolve and change over time. By the end of this class, you will have a deeper understanding of American literature’s imaginative evolution over time into the 21st century while also grasping the core tenets of its original production. You will learn how to critically engage and analyze both written and visual texts in literary and introduction to graphic media, i.e. comics. This class will enhance both your discussion capabilities and your writing skills through group discussion (Socratic seminar), two creative critical responses geared towards understanding adaptation: a mood board and musical score development, a close reading paper, and a critical analysis paper with a creative digital adaptation component. This course will confer the 6000-word writing requirement.
ENC 1145
Writing about Hell
Lindsey Scott
What is it about the idea of another world containing the souls of the dead or damned that has captured the imaginations of artists and the attention of audiences for centuries? Writing about Hell seeks to understand how artists from different time periods and literary traditions have contributed to our contemporary perception of “hell.” Through various units constructed around thematic groups including katabasis, Sympathy for the Devil, and Faust, we will explore how artists are influenced by, or, indeed, influence certain recurring infernal tropes from within their own cultural contexts.
This course will incorporate selections from established classics like Milton’s Paradise Lost and Ovid’s Metamorphoses. To facilitate our conversations, we will also put some of the more well-known texts in conversation with works that seek to adapt or offer a response to them; for example, pairing Dante’s Inferno with Hozier’s most recent album, Unreal Unearth (2023). Our course will also incorporate works whose representations of hell are shaped by a specific time period or cultural experience such Nathaniel Hawthorne’s “Young Goodman Brown” and Gloria Naylor’s Linden Hills (1985). Along the way, we will also draw on more recent popular works that represent the underworld or rework infernal tropes including Rick Riordan’s middle-grade classic, The Lightning Thief (2005), and Lil Nas X’s controversial music video for “MONTERO (Call Me by Your Name),” and V. E. Schwab’s historical fantasy The Invisible Life of Addie LaRue (2020).
Assignments for this course will include creative and interactive activities designed to help us engage with texts outside of the box. This may include assignments that encourage students to reinterpret texts through different mediums. We will also prioritize developing close reading skills through Perusall annotations and a focused close reading essay. Assignments will also help facilitate specific writing goals and the process of critical analysis more generally with the help of directed reflections and a final research essay. Join us for what is sure to be an unforgettable descent!
ENG 1131
Writing Through Indigenous Media
Dinalo Chakma
Western media representation of Indigenous peoples has historically been tainted with reductive stereotypes- mysterious and mystic, barbaric, immune to modern civilization- most predominantly, figures from the long-forgotten past. This course will challenge those narratives by highlighting the breakthrough Indigenous voices worldwide from various media and exploring how the communities utilized the platforms to construct their identities as living, producing, and culture-making people. It will prompt students to engage with Indigenous-led media, including films and series, digital archives, digital artistry, social media and digital communities, and online journalism.
Texts may include movies/series like Zacharias Kunuk’s Atanarjuat: The Fast Runner, Sterlin Harjo and Taika Waititi’s Reservation Dogs, Neil Diamond’s Reel Injun, etc.; community-led digital archives such as Four Directions Teachings.com, Wanuskewin, etc.; artworks of Maika’i Tubbs, Wendy Red Star, Tufan Chakma, etc.; policymaking documents such as “The Australian News Media and Indigenous Policymaking 1988-2008”; and Indigenous broadcasting channels. Through these, the course will contemplate the transformative impacts of Indigenous media and activism in Indigenous meaning-making, decolonizing Western views, and navigating state discrimination and cultural sovereignty. It will take special care to interpret the ways that race, ethnicity, and national identity intersect with Indigenous realities.
Students may be assigned a creative multimodal assignment that highlights the story of Indigenous voice/s; short response papers (400 words), a short research paper and accompanying presentation on an Indigenous broadcasting channel’s history; and a final research paper (2000 words).