Department of English

Class meeting locations are subject to change. Consult the following page for an explanation of the class period abbreviations.

Spring 2024

Lower-Division (1000-2000) Courses

Note: Course numbers listed in the table are linked to course descriptions below.

LIT 2000

TUR B310Introduction to Literature

Course #	Section	Class #	Time(s)	Room	Course title	Instructor
AML 2070	6101	10382	M W F 7	NRN 1001	Survey of American Literature	Jacob
AML 2070	M102	22237	M W F 4	TUR B310	Survey of American Literature	Hunsaker
AML 2410	9132	18831	T 5-6 / R 6	MAT 0114 / MAT 0118	Exploring American Identities in 20th Century Women’s Literature	Colindres
CRW 1101	1633	11957	W 9-11	MAT 0004	Beginning Fiction Writing	Nagpal
CRW 1101	6730	11958	R 9-11	MAT 0004	Beginning Fiction Writing	Burnett
CRW 1101	6752	11959	F 6-8	TUR 2305	Beginning Fiction Writing	Johnson
CRW 1301	16E1	11960	W 9-11	AND 0032	Beginning Poetry Writing	Cook
CRW 2100	0121	11961	W 9-11	MAT 0102	Fiction Writing	Clarke
CRW 2100	1337	11980	F 6-8	TUR 2346	Fiction Writing	Hinsman
CRW 2100	7005	11981	R 9-11	AND 0032	Fiction Writing	Udeh-Ubaka
CRW 2300	1645	11982	W 9-11	TUR B310	Poetry Writing	Calabro
CRW 2300	5311	11983	F 6-8	TUR 2336	Poetry Writing	Johnson
ENC 1136	9122	18798	M W F 7	TBA	Multimodal Writing/ Digital Literacy	Artiga
ENC 1145	35G2	12507	M W F 7	FLI 0117	Writing About Identity in Irish Literature	Scott
ENC 1145	35G3	12508	M W F 6	MAT 0004	Writing About the Gothic	Lamb
ENC 1145	35G4	12509	T 7 / R 7-8	MAT 0014 / MAT 0015	Writing About Herstory: Women in Poetry	Khorasani
ENC 1145	35G8	12510	M W F 8	MAT 0118	Writing About Feminism	Libby
ENC 2210	1GS6	26819	ASYNCHRONOUS	ONLINE	Technical Writing	Rodewald
ENC 2210	1GS7	26820	ASYNCHRONOUS	ONLINE	Technical Writing	Slotkin
ENC 2210	1GS8	28062	ASYNCHRONOUS	ONLINE	Technical Writing	Mordecai
ENC 2210	34F7	12511	ASYNCHRONOUS	ONLINE	Technical Writing	Schell
ENC 2210	34GD	12534	ASYNCHRONOUS	ONLINE	Technical Writing	Williams
ENC 2210	34GE	12535	ASYNCHRONOUS	ONLINE	Technical Writing	Chakraborty
ENC 2210	35F2	12536	ASYNCHRONOUS	ONLINE	Technical Writing	Knudsen
ENG 1131	1786	12446	M W F 6 / M 9-11	TBA	Haptic Worlds of Horror	Martinez
ENG 2300	1793	12447	M W F 4 / M 9-11	TUR 2334	Film Analysis	Whitaker
ENG 2300	4784	12448	M W F 5 / W 9-11	TUR 2334	Film Analysis	Morris
ENG 2300	7308	12462	M W F 7 / M E1-E3	TUR 2334	Film Analysis	Haldar
ENG 2300	S205	24598	T 4 / R 4-5 / T E1-E3	TUR 2334	Film Analysis	Stelari
ENL 2012	9135	29162	M W F 4	MAT 0002	Survey of English Literature, Medieval-1750	Hampshire
ENL 2022	1215	12294	T 7 / R 7-8	MAT 0007 / MAT 0014	Survey of English Literature, 1750-Present	Chakma
LIT 2000	17B9	13436	M W F 3	MAT 0118	Introduction to Literature	Pan
LIT 2000	17CB	13437	M W F 6	TUR B310	Introduction to Literature	Chattopadhyay
LIT 2110	M181	22735	M W F 2	LIT 0127 / TUR 2303	World Literature, Ancient to Renaissance	Murakami
LIT 2120	05DA	13457	M W F 7	MAT 0005	World Literature, 17th Century to Modern	Niknam

Course Descriptions

AML 2410

Exploring American Identities in 20th-Century Women’s Literature
Judy Colindres

Throughout the 20th century, women writers contributed significantly to the growing American literary canon. This course aims to center the literary works of BIPOC (Black, Indigenous, and People of Color) women authors to both broaden and nuance our understanding of American women’s identities across the 20th century. Our course will address the following questions: How does American literature narrativize identity? and What connections does women’s literature make among gender, race, class, and national identity?

Students will become familiar with 20th century American literature and encounter many perspectives on identity in America. We will read novels by women writers who grapple with Blackness in America, including Nella Larsen and Toni Morrison. We will read literary works that focus on immigrant American identities by authors such as Amy Tan and Judith Ortiz Cofer.

Students will read novels and short stories. Through discussion, they will hone their textual analysis skills. Readings may include novels such as Passing (1929), Beloved (1987), and An Island Like You: Stories of the Barrio (1995). Assignments will include in-class activities, reading response papers, and a final project. Written assignments will let students expand on their analysis, incorporate textual evidence, and develop an argumentative writing style.

ENC 1145

Writing About Identity in Irish Literature
Lindsey Scott

This course examines the ongoing, often painful process of (re)negotiating Irish national identity through the lens of Irish literature. We will explore conversations present in different forms of Irish storytelling that grapple with external forces, such as the legacy of British colonialism, as well as internal strife, such as religious division and trauma. Starting with the late nineteenth century Irish Literary Revival’s objective to restore Ireland’s language and literary tradition and reaching well into the twenty-first century, we will ask how these writers and artists helped shape the understanding of what it means to be Irish.

Texts will draw from a range of works including selections of foundational poetry, literature, drama, and film that contribute to a discussion of Irish identity. The course will incorporate recent media that deals with similar themes like Hozier’s Unreal Unearth album and Elizabeth McGee’s Derry Girls. We will take time to consider scholarly interventions that address critical discourses including postcolonial theory, trauma studies, and more.

Assignments include directed reflections, a 750-word close reading essay, and a 1500-word critical analysis essay. We will also incorporate creative and interactive assignments designed to engage with the texts “outside the box” including an informal performance of an Irish Revival play.

ENC 1145

Writing About the Gothic
Kaylee Lamb

How do we describe, envision, or even experience the gothic? We likely think of the gothic as a subculture like something out of a Tim Burton film, that all too familiar store Hottopic, or perhaps a controversial rock musician i.e. Marilyn Manson. Many of us are also aware of the gothic as a form of literature, art, furniture, architecture, or even its relation to early Germanic Tribes, the Goths. Despite all this, can we explain what the gothic is? This writing course will aim to unveil how we have historically, culturally, and socially defined this term. While much of our definition of the gothic will be filtered through literature, short stories, and film, we will also engage in other media and print forms such as video games, social media posts, music videos, and fashion magazines.

Our first writing project entails a 1,000-word film analysis of a Tim Burton film, while our second assignment will be a multi-modal, creative project involving a 600-word analysis of the student’s creation. The final project will entail an outline and a 2000-word analysis paper surrounding one of our class texts. This is not limited solely to literature/short stories but can be any media forms or publication platforms discussed in class attempting to undercover the gothic. Alongside these major assignments, students can expect quizzes surrounding our material and readings, peer review activities, and three reflections relating to open-ended questions covering our modules.

Texts: “The Masque of the Red Death” by Edgar Allan Poe (1842); Carmilla by Joseph Sheridan le Fanu (1872); Beetle Juice dir. Tim Burton (1988); Mongrels by Stephen Graham Jones (2016); Writhe by Emily Carol (Comic); Resident Evil and Silent Hill (Video Games)

ENC 1145

Writing About Herstory: Women in Poetry
Maryam Khorasani

Throughout history, poetry written by both men and women has shaped, reflected, and challenged notions of femininity, equality, and societal roles. In this course, we will explore how poetry has portrayed and influenced women’s experiences across different geographical regions and historical periods. Some of the poets whose works we will examine are Sappho, Li Qingzhao, Shakespeare, Mira Bai, Lord Byron, Janathan Swift, Elizabeth Barrett Browning, Robert Browning, Anne Brontë, Emily Dickenson, Audre Lorde, Carol Ann Duffy, Sylvia Plath, Elizabeth Bishop, and Forugh Farrokhzad. The course additionally involves a critical part where we learn about the tenets of feminist theory and its application to the form and content of poetry. Assignments include brief reflections, close-reading activities, digital annotations through Perusall, a creative project, and a final critical analysis paper.

This course will equip students with the tools to improve their research and writing skills by exploring the multifaceted relationship between gender and poetry. It welcomes poetry enthusiasts, literature students, and anyone interested in the nuanced connections between gender, society, and poetry.

ENC 1145

Writing About Feminism
Karen Libby

Writing About Feminism will explore works of writing that present, expand, and critique ideas of feminism. Through reading and writing various texts, we will explore the impact of writing on the development of the feminist movement. Emphasis will be placed on the mid-to-late twentieth century, as the development of cheap, accessible printing technologies during this period led to a diverse range of voices suddenly participating in discussion of feminist issues. We will also generate our own analytical writing about the feminist movement.

This class seeks to explore the following questions: How did feminists use publishing to communicate their ideas? How was publishing used to reveal and interrogate problems within the movement? How did publishing connect previously separated voices to construct a more expansive, inclusive feminist framework? This class will pay particular attention to how writing fosters intersectionality between feminism and other social movements, such as those surrounding race, class, disability, and sexuality.

Readings include, but are not limited to, informative periodicals like newsletters and newspapers; literary texts published by feminist- and women-run publishing houses; and self-published mini-magazines, AKA “zines.” Assignments include informal reflection papers, analyses of course readings, a creative zine, and a final argumentative essay.

ENG 1131

Haptic Worlds of Horror
Lillian Martinez

The horror genre aims to scare its audience. It seeks to entertain us by evoking fear of the unknown and the uncanny. We’re delighted when we’re frightened! This course takes horror video games as its primary texts. Video games require participation: we can’t experience them unless we play through them. Horror video games put us, as players, into close interaction with fear and delight.

We will study horror video game rules, levels, worlds, narratives, music, gameplay, and communities to analyze the powers of horror. Where we find fear, disgust, and play interwoven in horror video games, we also find opportunities to engage with questions of humanity, morality, and identity. What scares us? What do our fears reveal about what we desire?

The course will be split into five units as follows:
▪ The World of Horror: An Introduction to Horror Games
▪ Just a Rookie Cop: Surviving Survival Horror
▪ Horror for Kids: The Vulnerable Player (Character)
▪ LFM: Cooperative Horror
▪ Crafting a Spectacle: Content Creation & Livestreaming

Texts we will cover include: Hunt the Wumpus (1972), Texas Chainsaw Massacre (1982), Castlevania (1986), Friday the 13th (1989), Resident Evil (1996), Silent Hill (1999), Dino Crisis (1999), The Typing of the Dead (1999), Fatal Frame (2001), BioShock (2007), Amnesia (2010), Outlast (2013), The Last of Us (2013), Five Night’s at Freddy’s (2014), Yomawari (2015), INSIDE (2016), Dead by Daylight (2016), Little Nightmares (2017), Doki Doki Literature Club (2017), World of Horror (2019), Phasmophobia (2020), Omori (2020), Puppet Combo Games (2013-2022), and Chilla’s Art Games (2019-2023)

Assignments will include unit response papers, a close reading essay, a landscape analysis project, an in-class presentation on a horror game played outside of class, and a critical analysis paper. Students are not required to have previous experience with video games.