Class meeting locations are subject to change. Consult the following page for an explanation of the class period abbreviations.
Lower-Division (1000-2000) Courses
Note: Course numbers listed in the table are linked to course descriptions below.
|Course #||Section||Class #||Time(s)||Room||Course title||Instructor|
|AML 2070||0473||10458||M W F 2||LIT 0221||Survey of American Literature||Kelly Martin|
|AML 2070||0535||10460||M W F 8||LIT 0235||Survey of American Literature||Rachal Burton|
|AML 2070||0541||10461||M W F 4||NRN 1-220||Survey of American Literature||Elizabeth Lambert|
|AML 2070||6101||10462||M W F 5||MCCB 2102||Survey of American Literature||Chesya Burke|
|AML 2410||1615||10463||M W F 6||NRN 1-239||Victims? Survivors? Bad Hombres? : Refugees in America Speak Back||Deepthi Siriwardena|
|AML 2410||4800||10464||T 8-9/ R 9||LIT 0235/ LIT 0233||The “Other” Children’s Literature||Jill Coste|
|AML 2410||5700||10410||M W F 7||MEB 0238||Girls’ Talk: Reading and Theorizing American Girlhood||Fi Stewart-Taylor|
|AML 2410||9132||23765||M W F 8||AND 0032||Literature of U.S. Military Bases||Rachel Hartnett|
|CRW 1101||1632||12863||M 6-8||NORM 1-247||Beginning Fiction Writing||August Lah|
|CRW 1101||1633||12864||T 3-5||AND 0032||Beginning Fiction Writing||Django Ellenhorn|
|CRW 1101||6730||12865||R 3-5||AND 0032||Beginning Fiction Writing||John Bolen|
|CRW 1101||6752||12866||R 6-8||AND 0032||Beginning Fiction Writing||Drew Dickerson|
|CRW 1101||6754||12867||F 6-8||MAT 0103||Beginning Fiction Writing||Michelle Neuffer|
|CRW 1301||16E1||12869||W 2-4||LEI 0142||Beginning Poetry Writing||Ashley Kim|
|CRW 1301||6989||12870||F 3-5||MAEB 0238||Beginning Poetry Writing||Kayla Beth Moore|
|CRW 2100||0121||12871||R 9-11||CBD 0212||Fiction Writing||Timothy Schirmer|
|CRW 2100||132A||12899||T 2-4||MAT 0014||Fiction Writing||John Bolen|
|CRW 2100||1337||12900||R 3-5||BLK 0415||Fiction Writing||Daniel Grossman|
|CRW 2100||7005||12902||R 6-8||MAT 0016||Fiction Writing||Gardner Mounce|
|CRW 2300||1644||12903||M 2-4||MAT 0016||Poetry Writing||Stiofan DeBurca|
|CRW 2300||1645||12904||M 9-11||CBD 0220||Honors Poetry Writing||William Logan|
|CRW 2300||5311||12905||W 2-4||MAT 0016||Poetry Writing||Stephanie Maniaci|
|CRW 2300||7019||12906||F 3-5||WEIM 1084||Poetry Writing||Audrey Hall|
|ENC 1136||9122||23684||M / W F 3||WEIL 0408D/ WEIL 0408E||Multimodal Writing/ Digital Literacy||Brandon Murakami|
|ENC 1136||9123||23687||M / W F 4||WEIL 0408D/ WEIL 0408E||Multimodal Writing/ Digital Literacy||Ayanni Cooper|
|ENC 1136||9124||23689||M W F 8||WEIL 0408D||Multimodal Writing/ Digital Literacy||Ashley Tisdale|
|ENC 1136||9125||23692||T 4/ R 4-5||WEIL 0408A||Multimodal Writing/ Digital Literacy||Faith Boyte|
|ENC 1145||35G2||13731||M W F 8||TUR 2318||Writing About Children’s Media||Mandy Moore|
|ENC 1145||35G3||13732||T 2-3/ R 3||TUR 2354/ MAT 0009||Anime and Manga Adaptions of Western Literature||Brandon Murakami|
|ENC 1145||35G4||13733||T 8-9/ R 9||MCCAR B G086/ AND 0019||Writing About Body Horror||Bri Anderson|
|ENC 1145||35G7||13735||M W F 6||LEI 0104||Writing About Law and Literature||Bernard O’Donnell|
|ENC 1145||35G8||13736||M W F 7||MAT 0051||Writing About Animals||Samantha Baugus|
|ENC 2210||34F7||13737||T 2-3/ R 3||CBD 0220/ MAT 0007||Technical Writing||Maxine Donnelly|
|ENC 2210||34GD||13763||T 8-9/ R 9||AND 0021/ LIT 0235||Technical Writing||Megan Fowler|
|ENC 2210||34GE||13764||M W F 2||CBD 0212||Technical Writing||Christopher Smith|
|ENC 2210||35F2||13765||Technical Writing||Rebecca McNulty|
|ENG 1131||1786||13613||M W F 6/ M E1-E3||ARCH 0116||Writing Through Media||Zach Shaw|
|ENG 1131||1788||13614||M W F 5/ W E1-E3||ARCH 0116||Writing Through Media||Thomas Johnson|
|ENG 1131||2463||13615||M W F 7/ R E1-E3||ARCH 0116||Writing Through Media||Vincent Wing|
|ENG 2300||1793||13617||M W F 3/ W 9-11||TUR 2322/ ROL 0115||Film Analysis||Lauren Cox|
|ENG 2300||1794||13618||M W F 4/ R 9-11||TUR 2322/ ROL 0115||Film Analysis||Katherine Jackson|
|ENG 2300||4784||13619||M W F 5/ T E1-E3||TUR 2322||Film Analysis||Tyler Klatt|
|ENG 2300||6015||13642||T 4/ R 4-5/ M 9-11||TUR 2322||Film Analysis||Kevin Cooley|
|ENG 2300||7308||13643||T 5-6/ R 6/ W 9-11||TUR 2322||Film Analysis||Natalie Goodman|
|ENG 2300||7373||13644||M W F 6/ R E1-E3||TUR 2322/ ROL 0115||Film Analysis||Milt Moise|
|ENL 2012||9135||23778||M W F 8||MAT 0003||Survey of British Literature, Medieval-1750||Alyssa Dewees|
|ENL 2022||1215||13348||T 7/ R 7-8||MAEB 0229/ CBD 0212||Survey of British Literature, 1750-Present||Yvonne Medina|
|ENL 2022||9133||23769||T 8-9/ R 9||WEIM 1092/ WEIM 1076||Survey of British Literature, 1750-Present||Claire Karnap|
|LIT 2000||17B9||15058||M W F 3||MAT 0151||Introduction to Literature||Cristovao Nwachukwu|
|LIT 2000||17CB||15059||M W F 6||MAT 0251||Introduction to Literature||Laken Brooks|
|LIT 2000||17CD||15060||M W F 7||TUR 2333||Introduction to Literature||Burcu Kuheylan|
|LIT 2000||9134||23774||T 8-9/ R 9||MAT 0151||Introduction to Literature||Mosunmola Adeojo|
|LIT 2110||1951||15061||T 5-6/ R 6||CBD 0220/ AND 0134||World Literature, Ancient to Renaissance||Satit Leelathaworndnai|
|LIT 2120||05DA||15087||M W F 8||MAT 0115||World Literature, 17th Century to Modern||Min Ji Kang|
Victims? Survivors? Bad Hombres? : Refugees in America Speak Back
“Rapists, Drug dealers, Freeloaders and very very bad men”: these are some of the ways in which refugees have been characterized in the current American context as the question of refugees has become one of the most hotly debated topics in the present political context of the country. Why is America expected to care about refugees? And despite being such central figures in the current American political context, what do we really know about the refugees in America? Although Mexicans have become synonymous with the refugee figure in contemporary context, whoexactly are the refugees in America? What stories do they tell about their “homes” and their hopes? Are there “legal” and “illegal” refugees and what makes them “legal” or “illegal”? How do refugee writers negotiate with the popular images of the refugee as dangerous troublemaker, helpless victim, and “damaged goods”? What understandings of citizenship, human rights, global interdependencies and communal solidarity can we gain through these narratives? These are some of the questions that we will explore in this course as we read literary narratives written by refugee writers and literary works where the refugee is figured.
In this class, we will explore a range of both literary and media texts depicting a variety of refugee experiences including that of Eastern Europeans, Asian Americans and the Caribbean people. As we read these narratives we will explore the interrelation of political, economic and cultural systems that create refugee situations and attempt to understand the trauma of flight, loss, displacement, exclusion and assimilation. The course aims to put a human face on factual information about a pressing social concern and attempts to promote informed, critical thinking about U.S and world citizenship.
We will read a range of genres encompassing autobiographies, memoirs, novels, short stories, poetry by a range of writers including Haitian-Americans such as Edwidge Danticat, Dominican-Americans such as Julia Alvarez and Asian Americans including Viet Thanh Nguyen whose novel about Vietnamese refugees won the Pulitzer Prize in 2016. Through course assignments, students will have opportunity to engage in both critical and creative work. We will take a trip to the Harn Museum of Art to learn about art and art analysis. You will have a choice of writing a critical or a creative response to a piece of art. You can develop your literary analytical skills by writing a compare and contrast essay and finally you will have the choice of engaging in a critical or creative paper for your final project. In addition, you will be asked to write short responses to texts discussed in class and do a short presentation.
The “Other” Children’s Literature
When one thinks of American children’s literature, famous titles like Little House on the Prairie or Where the Wild Things Are might spring to mind, along with authors like Dr. Seuss and L. Frank Baum. But the texts that populate lists of “classics” are only a small offering of impactful American children’s texts. This course will explore lesser-known work for children and adolescent readers, considering what lies beyond the canonical.
We will cover three major “golden age” periods in children’s literature publishing, from the Victorian era (the original “Golden Age of Children’s Literature”) to the postwar period (when a publishing boom brought children’s literature into mainstream culture) to the first decade of the 21st century (when Harry Potter turned children’s fantasy into a worldwide phenomenon, and The Hunger Games set the stage for an influx of dark dystopias). We will assess how literature from these major time periods informs our conceptions of childhood and how less-famous texts can affirm or challenge these conceptions. While we will read some famous texts to establish context and a point of reference, the majority of our readings will be from lesser-known authors and titles. We will read books published during these eras that haven’t stayed on canonical lists in order to consider whose stories are prioritized or subdued, and why.
We will continually return to the following questions: What can we learn about American childhood from noncanonical children’s texts? How do lesser-known works inform our sense of American history? And how do these “other” children’s texts prioritize voices that have historically been marginalized?
Texts may include Dhan Gopal Mukerji’s Gay Neck, Ann Petry’s Tituba of Salem Village, and John Steptoe’s Mufaro’s Beautiful Daughters, among others.
Assignments will include critical response papers, a group presentation, and a final writing project that juxtaposes historical and contemporary texts.
Girls’ Talk: Reading and Theorizing American Girlhood
From criticism of how young women talk, to moral panics about how they dress, to reports on how they think, what they do, who they listen to and especially what they buy, teen girls might well ask the media, like Regina George, “why are you so obsessed with me?” This obsession isn’t unique to America, but the young girl in America is a particularly important site for ideas about what it means to be young, to be a woman, to be normal or exceptional, to be valued or valuable.
Teenage girls are supposed to be consumers par excellence; their alleged appetites for commodities and consumer goods cause hand-wringing by both moral scolds and more serious critics of capitalism, with young girls as either victims or perpetrators of cheapening culture. The media, too, is alleged to prey on young girls’ self esteem and they are alleged to be overly addicted to its fantasies. Literary work for and about girls reflects this preoccupation, and the “authentic” American girl is negotiated across literature and media. Mapping the terrain of the American girl necessitates reading literature alongside popular culture and mass media, to understand the literary qualities of these texts and how they reciprocally inform and inflect more traditional literature.
In this class, we’ll try to make some sense of different ways American culture has constructed the Young-Girl over time. We’ll read and write about classic theoretical texts about gender, and sociological, historical, and rhetorical accounts of American girlhood, alongside classic and modern stories about young girls, like Little Orphan Annie or Little House on the Prairie. We’ll look at “girl power” magazines like Sassy and Rookie, Riot Grrrl and underground DIY publications, and pop divas to try to think about some of the ways the category of the “young-girl” has come to be, and how real young girls have inhabited, embraced, rejected, and contested the position. Students will be asked to bring their own critical perspective and insight into the classroom. Writing will involve critical responses to secondaryand primary texts, and a multimodal essay in the spirit of John Berger.
Literature of U.S. Military Bases
As Catherine Lutz describes in her book, The Bases of Empire, the world is being increasingly defined by “the global omnipresence and unparalleled lethality of the U.S. military, and the ambition with which it is being deployed around the world” (1). Whether it is ambition or security policy, the U.S. foreign military presence takes the form of “over 190,000 troops and 115,000 civilian employees […] massed in 909 military facilities in 46 countries and territories” where the “U.S. military owns or rents 795,000 acres of land” (Lutz 1). These bases exist as the front lines for U.S. expansion and the ability to wage war over long distances while simultaneously serving as a major cost to the U.S. U.S. military installations in foreign countries are often claimed to be economic boons to the surrounding areas; they also supposedly protect the host nation and its economic interests—including trade. This, while possibly true in the short term, ignores the overwhelming security, economic, political, and symbolic power these bases bring to the U.S.
This course will be an introduction to the literatures produced from U.S. military bases abroad. These military installations will thus span multiple sites and periods of U.S. imperialism: from the military takeover of Hawai’i in 1893, the U.S. occupation and control of the former Spanish colonies after the Spanish-American War, the American military build-up of Trinidad and the occupation of Okinawa during World War II, U.S. bases built during the Korean War, and military installations post-9/11 in Afghanistan as well as Guantánamo Bay in Cuba. We will be analyzing literature that presents mainstream and popular culture representations, as well as those that represent the counter-narrative of American military and imperialism. By including sites both previously and currently occupied by the U.S. military, our texts will fall under the purview of a global American literature. Because this is primarily a composition course, students will be completing two critical analysis papers (1000-words each) over the first half of the semester. They will also produce one longer critical analysis paper with research (3000-words and 1-2 outside sources) that will be due near the two-thirds point in the semester. Finally, for their final assignment, they will produce a creative project of some kind (This could be a song, an art project, a movie, a digital project, a database system, etc. The choices are limitless!) and submit a 1000-word paper presenting their methodology and the major themes they were addressing.
Writing About Children’s Media
From pop-up books and Barbie dolls to Saturday morning cartoons and iPad apps, children’s lives are flooded with a variety of media through which they can play, learn, and define themselves. In this class, we will explore the media created for (and occasionally by) children, focusing on contemporary American childhood(s). As we study children’s books, toys, games, film/television, and digital content, we will examine different roles that adult creators imagine for children. Were these texts made by people who view children as curious students? fragile dependents? complex human beings? budding consumers? We will also think about the ethical responsibilities of creating children’s media. Finally, although production of children’s media is often dominated by adults, we will search for spaces where children express their own opinions about the media they consume and how they like to consume it.
Our texts may include episodes of Steven Universe, Avatar: The Last Airbender, and Sesame Street; films like Coco and How to Train Your Dragon; books like Diary of a Wimpy Kid and Visiting Day; and all kinds of games, toys, apps, and websites. We will visit the Baldwin Library of Historical Children’s Literature here at UF, and we’ll also read critical essays to supplement our discussions. We’ll culminate with a case study of Percy Jackson and the Olympians as a popular children’s text that has migrated through multiple media, including books, movies, action figures, clothes, games, and most recently, a kid-friendly musical. Major assignments for the course will include short reading/viewing responses, two analysis papers, a critical reflection on a text from your own childhood, and a research paper on one theme or issue in contemporary children’s media (with an annotated bibliography of children’s texts). There will also be a creative project in which you design your own children’s text.
Anime and Manga Adaptions of Western Literature
Anime and manga’s present popularity in America cannot be understated. Since its introduction in the 1960s, to its ‘boom,’ ‘bubble,’ and ‘burst’ through the 80s, 90s, and 00s, respectively, the two distinctly Japanese mediums are currently enjoying an all-time high of interest and consumption outside of Japan. While the majority of anime/manga series are wildly original, it is true that a great many of these stories are inspired from non-Japanese narratives. This course explores the how and why of these Japanese adaptions of non-Japanese literature, via the mediums of anime/manga, are so popular. Some topics we’ll consider throughout the course are: the role of adaptation/reframing in relation to distinctly Japanese issues (historical, cultural, social, and political); problems of genre, medium, and narrative/visual theory; the ethics of ‘responsible’ representation versus ‘irresponsible’ appropriations; and issues of trans/international cultural flows. We will also look at issues of (intended) audiences, fandoms, the politics of gender, and how these creators must grapple with the ‘untranslatable’ in their adaptions.
As this course is interested in how these Japanese artists reimagine a diverse array of literary texts into visual/animated ones, we will examine stories from a variety of places rather than one specific geographic space. A few of the texts that we may cover are: Diana Wynne Jones’ Howl’s Moving Castle and Hayao Miyazaki’s anime adaption of the same name; Shakespeare’s Romeo & Juliet and Fumitoshi Oizaki’s anime, Romeo x Juliet; selections from Wu Cheng’en’s Journey to the West and Kazuya Minekura’s manga Saiyuki; Lewis Carroll’s Alice in Wonderland and Jun Mochizuki’s manga Pandora Hearts. In addition, we will consider how some of these creators think through adapting from one medium to another, like Noriko Takao’s animated adaptions of Hikaru Nakamura’s manga, Saint Young Men.
As this is a writing intensive course, assignments may include analytical responses, close readings, a creative project adapting a text of your choice, and a final research paper.
Writing About Body Horror
Reveling in the disgusting and the taboo, body horror evokes fear and revulsion in equal measures through graphic depictions of deformed, diseased, and mutated human bodies. Here, death and destruction come not at the hands of a knife-wielding killer or a vengeful spirit, but from within as one’s own treacherous body transforms uncontrollably into a gruesome new form. While body horror is traditionally associated with films such as John Carpenter’s The Thing (1982)and David Cronenberg’s The Fly (1986), the genre has infiltrated a variety of mediums, appearing in comics, music videos, science fiction novels, and even Skittles advertisements. Why do we continue to read and watch these nauseating narratives, even as their grotesque displays of ruined bodies dare us to turn away? How does body horror serve as a dark mirror that reflects cultural preoccupations with embodiment?
This course will explore how body horror texts from a range of historical periods and mediums expose shifting societal anxieties surrounding corporeal and historical traumas. First, we will investigate how depictions of monstrous bodies in Mary Shelley’s Frankenstein(1818) and Franz Kafka’s The Metamorphosis (1915) shape contemporary iterations of the genre. Next, we will analyze representations of gender and sexuality in texts dealing with pregnancy, puberty, and sex, such as Octavia Butler’s “Bloodchild” (1984), Charles Burn’s comic Black Hole (2005), and the animated television series Big Mouth (2017-present). Finally, we will examine how portrayals of “freakish” or mutilated bodies in works like Katherine Dunne’s Geek Love (1989) and the television series American Horror Story: Asylum (2012) perpetuate or complicate ableist narratives of disability and illness. Throughout the course, our analyses will devote particular attention to the ways that body horror depicts marginalized bodies. Whose bodies are subjected to transformation, and what are the ethics of consuming these revolting narratives?
Writing About Law and Literature
Although we may not realize it, the law permeates our everyday lives in tangible and significant ways. The same premise holds true with regards to works of literature. Although the work itself is fictitious, there still exists within it some social construct of law and order, even if it radically departs from our conceptual understanding of the same. In other words, a literary work can possess significant legal issues even when the author fails to create a single lawyer, judge, or police officer as a character in the entire narrative. This course will look at potential legal issues in certain literary texts – texts that are not ostensibly about the law (such as Presumed Innocent and The Firm would be) but that nevertheless do involve legal issues. The focus of the course will entail analyzing these legal issues, taking a position on them, and writing persuasive essays in support of these positions. Students will perform mock trials at the end of each unit and will present the arguments made in the essays before a live jury. Texts for the class will include: Miss Julie (August Strindberg), Strange Case of Dr. Jekyll and Mr. Hyde (Robert Louis Stevenson), A Doll’s House (Henrik Ibsen), and Dirty Work (Larry Brown).
Writing About Animals
Humans are fascinated by animals and the role(s) they have played in our communities: food, entertainment test subject, friend, worker, predator. We, as humans, have written endless narratives about animals imagining their lives and projecting our own thoughts about animals lives on to their experiences. This course will explore what we write about animals and why. We’ll be investigating three kinds of writing about animals: writing with animals (human narrator accounts of experiences with animals), writing for animals (fictional or fictionalized accounts of animal lives), and writing by animals (animal “autobiographies”). Through the investigation of these three subgenres we will try to answer questions about the place of animals in the modern world, our moral and ethical responsibilities to animals, and how to write about those who cannot write for themselves.
Writing assignments will include analysis papers of assigned readings or viewings and writing about your own experiences with animals, as well as reflective responses and other homework and in-class assignments.
Possible readings and viewings could include “The Writer of the Acacia Seeds” by Ursula K. Le Guin, The Only Harmless Great Things by Brooke Bolander, selections from Speaking Up For Animals by Lisa Kemmerer, We3 by Grant Morrison, Call of the Cats by Andrew Bloomfield, Homeward Bound,Watership Down, A Beautiful Truth by Colin McAdam, Dewey by Vicki Myron.
Content Warning: This course will involve reading and seeing depictions of animal abuse, death, and violence. Please do not register for this class if you’ll find this material too disturbing.