This is an unofficial list of English courses that will be offered in FALL 2014. It is strictly for the use of expanded course descriptions. For the complete official course offerings, please consult the UIC SCHEDULE OF CLASSES.

100 Level

ENGL 101: Understanding Literature
CRN: 20586/11088
Days: MWF 1:00-1:50 pm
Matt Moraghan (
This course will examine how the formal elements of literary works relates to their thematic concerns.  We'll think about the relationship between what works are "about" and what's written on the page in order to identify different ways authors express their meaning.  This work will deepen our close reading skills and sharpen our ability to make arguments about literary texts.  We will be reading across 20th-century American literature--mostly novels, but also some poetry and a few short stories--and our authors will range from  Ernest Hemingway to Djuna Barnes to Ralph Ellison to Thomas Pynchon.

ENGL 101: Understanding Literature
CRN: 25642/25644
Days: MWF 10:00-10:50 am
Davis Smith-Brecheisen (
This course will explore the novel in its historical contexts over the past century. We will pay particular attention to the ways in which the novel employs different narrative techniques and literary devices to respond to and mediate these contexts. Authors will likely include: Ishmael Reed, Toni Morrison, Thomas Pynchon, and others.

ENGL 101: Understanding Literature
CRN: 11053/20583
Days: TR 12:30-1:45
Aaron Hammes (
What better way to understand literature than through depictions of sin, degradation, and human awfulness?  Together we will comb through the literature of evil and many of its vicissitudes, including thievery, booze, incest, ignorance, avarice, pride, and murder, among others.  Our primary object will be the novel on the European continent, England, and America from 1850-1950, tracing its unique ability as a most fluid anti-genre to depict nastiness across national boundaries.  We’ll also compare the novel to shorter fiction, poetry, and drama.  This course will be somewhat reading-intensive, likely including works by Bulgakov, Genet, Dostoevsky, Hesse, Baudelaire, Garcia Lorca, Erofeev, Baldwin, Milton, Dante, and Kierkegaard.  But other than all touching on evil, our texts will be swift and magical; encompassing a wide swath of literary tricks and craft, giving participants a full view of how long-form fiction crosses literary, linguistic, demographic, and cultural lines.

ENGL 101: Understanding Literature
CRN: 22333/22337
Days: TR 3:30 - 4:45 pm
In this course, students will seek to understand literature by examining texts from a number of different angles: plot, characterization, social and historical context, figurative language, etc. in order to develop the tools to identify the meaning of texts through close reading. We will focus on the point of view and different ways events in the stories can be narrated. Readings for the course include both short stories and novels by such authors as Vonnegut, Salinger, Chekhov, Gary and others. Students will have to do consistent and substantial reading. Assignments will include reading responses, three papers, midterm and a final exam.

ENGL 103: English and American Poetry
CRN: 22348/22349
Days: MWF 9:00-9:50
Annah Browning (
In this course, we will explore lyric poems from the Romantic period to the present day, with an emphasis on the concept of the lyric speaker. Who or what is the voice of the lyric poem, and how is that voice constructed? How has the conception of voice or speaker in the lyric poem in English shifted through time? We will situate each poem in its literary and historical contexts, strongly focusing on the relationship between form and content. Through extensive close readings, we will investigate how this relationship informs and/or reveals important aspects of a poem’s cultural and aesthetic environments.

ENGL 103: Introduction to British and American Poetry
CRN: 20646/20645
Days: TR 11:00-12:15 pm
Nikki Paley Cox (
During the reading of a poem, meter, verse, syntax and rhythm activate, like propellers, all at once. But writing a poem takes time, stillness, skill, and dedication - a constructing. In this course, we will study a number of classic and modern poems by poets who are masters at their game. In this class, we will investigate the details of poetry, those devices that elevate a bunch of words into a poem.
W.B. Yeats said a poem should be “heavier at the bottom than at the top.” What does that mean? The questions we’ll ask and attempt to answer are these: How does the poem move, grow, become heavy? What’s happening in the language, the lines, the word-clusters? How does this poem do what it’s doing?
Using Mary Oliver’s A Poetry Handbook (Mariner Books, 1994), we will analyze the structure and composition of classic British and American poems. The goal of this class is to instill in you the tools necessary for a more informed approach to poetry. Ultimately, of course, the goal is for you to gain an appreciation for, and a deeper understanding of, good poems.

ENGL 104: English and American Drama
CRN: 36954
Days: TR 2:00-3:15 pm
Mary Ellen O'Hara (
Drama exists to remind us of our humanity; it is a kindred looking-glass starkly reflecting the worst and best within ourselves. Focusing upon the masterworks of modern and contemporary playwrights this course will explore the themes inherent to the theatrical style of Realism.   We will begin our exploration with concrete approaches to analyzing and appreciating theatrical texts. This knowledge will allow us to engage with the larger moral, psychological, social and racial conflicts presented ostensibly to a live audience. Playwrights in this course include Tennessee Williams, Lorraine Hansberry, Harold Pinter and David Mamet.

ENGL 104: English and American Drama
CRN: 26201
Days: MWF 1:00-1:50
Aaron Krall (
This course will focus on strategies for critically reading and writing about English and American drama. In addition to reading drama as literature, we will consider the relationships between written texts and live performances. In this way, the literary texts and techniques of playwrights will be complicated by the performers, theaters, and audiences that shaped their production. Although we will read plays from a wide variety of places and historical periods, this course will have a special emphasis on modern and contemporary drama that represents and enacts cities, particularly Chicago and London. This will allow us to examine the ways drama engages life in the modern city and participates in an ongoing conversation about the contested meanings of urban life.

English 105: English and American Fiction
CRN: 33745/33744
Days: T/TR 9:30-10:45
Eui Kang (

The central question we would like to raise in this course is regarding “crisis/apocalypse”. This term has been variously problematized throughout social and literary history. We are concerned with the topic not (simply) because we have witnessed the massive amount of apocalyptic fictions in recent years. Rather, our question arises primarily because apocalypse/crisis is such a central, though complicated, concept that a proper understanding of the problems surrounding the concept will enable us to clearly see what we call post-modernity and post-coloniality; that it, our own contemporary. We are not going to read popular and “light” fictions in the course. Instead, our focus will be “serious” literature and thus our reading will include Joseph Conrad, Samuel Beckett, Zoe Wicomb, J. M. Coetzee, Nadine Gordimer, Cormac McCarthy, Franz Kafka, etc. Students are expected to have the necessary background in analyzing, discussing, and responding to literature, as well as the ability to write correctly documented research essays using MLA format. Students are also cautioned that this course requires extensive reading and daily response papers.

ENGL 105: English and American Fiction
CRN: 25646/25647 
Days: MWF 10:00-10:50
Instructor: Sarah Buchmeier ( When we talk about fiction's form or content, we tend to talk about somethings: the somethings that happen, the someones who tell the story, the someplaces that stage the events.  In this course, however, we will turn our attention to nothings in and of American and English fiction.  Through a combination of literary and critical texts, we'll explore some of the following questions: What kinds of nothing are there, and how do our commitments to different kinds of nothing change over time?  How does nothing find representation in prose?   What are the politics of nothingness or negation in literature?  We'll use this set of questions as a starting point for practicing close reading strategies and constructing arguments about literary texts.  Some of our authors may include Herman Melville, Ernest Hemingway, F. Scott Fitzgerald, Tom McCarthy, and Laurence Sterne.

ENGL 105: English and American Prose
CRN: 31724/31721
Days: MWF 8:00-8:50 am
Chris Girman (
The written word, as a mode of representation, can never fully bring to life that which does not exist.  Yet the very act of representation itself presumes a belief that faithful characters and believable plots can somehow transport the audience to another place and time, perhaps transforming them in the process.  The pursuit of realistic representation in literature can be traced as far back as Homer’s meticulous descriptions of the Greek army in The Iliad, and includes many of Shakespeare’s characters long praised for their likeness to real life. Yet the mid-nineteenth century witnessed an explosion of literature in Europe and, eventually, the United States, which literary critics—and the authors themselves—referred to as “realism” and, later, a variation known as “naturalism.”  This course looks closely at how British and, primarily, American writers immersed their characters in “realistic” settings designed to mirror the social displacements, crushing poverty, and gendered realities of the mid-nineteenth century. Can you escape the hand you were dealt with in life?  We shall see what realist writers have to say about that very question.

ENGL 105: English and American Literature
CRN: 11126/20597
Days: T-Th 2:00-3:15 PM
Strunk, Trevor (
It has often incorrectly been said that an ancient Chinese curse maliciously wishes that its hearer “live in interesting times.” While the “curse” itself is almost surely apocryphal, we might take its point seriously and ask what it is like to live in “interesting” or even revolutionary times. What are people thinking about their world right before a potentially epochal social shift? What are they thinking about after that shift, or even after it fails? And how can we understand our own contemporary position through these questions? The literature produced around and during the promise of great social and economic shift, fulfilled or otherwise, may give us an idea of not only what people make of their own interesting times, but also how they make sense of these times after the fact.  To test this theory, we will read two novels – one American, one British – from three moments of instability and potential revolt: 1848, 1968, and today. Through these six pieces of fiction, as well as supplemental historical context, we will see how revolutionary times frame works even across the Atlantic, and how the English speaking novel responds to times of unrest. We will also use close-reading, careful analysis, and rigorous writing practices to start to determine our own imaginings of literary representations of revolution. And we may even begin to be able to diagnose our own interesting moment, looking forward by looking back.

ENGL 107: Introduction to Shakespeare
CRN: 26583/26585 
Days: T-TR 3:30-4:45
Instructor: Gary Buslik (
This course will introduce you to the life, times, and work of the great poet, dramatist, and inventive genius of the English language, William Shakespeare. We will read a lively biography and selections from a book about him, his work, and Elizabethan theater. We will read and discuss one or two plays and several sonnets. We will also watch three or four filmed productions of the Bard's most famous plays. We will write several response papers and have quizzes on all readings and a summary exam.

ENGL 108: British Literature and Culture
CRN: 22313
DAYS: 12:30-1:45
Instructor: Mark Canuel (
The Sense of Place: What do places mean in English literature?  It turns out that the disposition of literary works toward specific locations can tell us a great deal about how authors think about their own tasks as writers.  In this course, we’ll examine a range of works from Wordsworth and Coleridge’s Lyrical Ballads to Ishiguro’s The Remains of the Day in order to examine the changing functions of places in literary works.  Studying places will lead us to address many other related concerns: poetic imagination, genre, ethics, politics, nationalism, class dynamics, and history .  .  . just to name a few.   Our aim will be to hone practices of close reading while also gaining an appreciation for large-scale movements and changes across time.  Some consideration of painting, music, and film will accompany our focus on literary works.  Requirements: 3 papers, midterm quiz, final exam, other assignments, attendance.

ENGL 109: American Literature and Culture
CRN: 25233/25237
DAYS: MWF 12:00-12:50
Instructor: Jason Douglas (
Since the days of exploration and colonization, literature written about and in America has displayed a keen interest and awareness in markets.  The possibilities of trade, exchange, production, and credit have played an important role throughout the history of American literature.  Students will examine the way that markets both represent and influence American literature and culture.  Students will study texts from a variety of different periods, forms, and genres through American history.  Texts will include short stories, poetry, and novels.  Texts will draw from periods of exploration, colonization, revolution, westward expansion, financial markets, consumer culture, etc.  Coursework will include regular quizzes, literary analysis papers, exams, class presentations, and frequent class participation.  Regular attendance and a reading are an essential requirement for this course.  

ENGL 109: American Literature and Culture
CRN: 25231/25235
DAYS: T/TH 8:00-9:15
Instructor: Mary Hale (
American Houses: Haunted, Divided, and Full of Mirth
In his defense of the American constitution, James Madison described previous democratic experiments as short-lived and violent—“spectacles of turbulence and contention.” While Madison’s constitutional solution ultimately held the nation together, the American nineteenth century was full of division and turmoil; from the battles over slavery to the labor disputes at the end of the century, fundamental disagreements rocked the young nation’s sense of itself again and again. In this course, we will examine literary “spectacles of turbulence and contention,” and consider how the novels, stories, and poems of the period provide unique sites for understanding such contested times. Through the development and use of close reading techniques, students will examine the literary devices and formal structures that defined literary genres of the period; in writing and in class, they will participate in conversations about the way in which art, and particularly the novel, formally and thematically thinks about the world in which it is written.  The course will include readings by Edgar Allen Poe, Nathaniel Hawthorne, Harriet Wilson, Mark Twain, William Dean Howells, Frances Harper, and Edith Wharton.

ENGL 109 American Literature and American Culture
MWF 2:00-2:50
Instructor: Chris Findeisen (
Higher education in the United States has undergone significant changes since the antebellum period. In the 1830s, America’s 100 or so colleges enrolled less than one percent of the college-aged population, but today higher education is understood to be a central institution in American life. In this class we’ll be asking some broad questions that will help us make sense of this important historical and cultural shift: What was, and what is, the purpose of higher education? To earn work credentials, to become better people, or to pursue curiosity? Can we do all three at once, or is one “kind” of education at odds with the others? What should the university teach, and to whom should it be taught? What is the ideal “college life”? What is the university’s obligation to those who don’t enroll? Why does UIC make students take general education requirements at all? This class will analyze a very fascinating subset of 20th century American literature—the academic novel—which will help us confront these questions in a deeper sense. Regardless of what we believe about the purpose of college, one thing seems clear: that despite enormous historical changes in American higher education, the stories we tell about college life have remained remarkably consistent. Why? If the historical situation is radically different, why are generations of readers so eager to consume and produce the same stories over and over again? What’s the connection, if any, between the form and tropes these novels share and our beliefs about the purpose of higher education? Some authors we will consider: F. Scott Fitzgerald, Don DeLillo, Ishmael Reed, Mary McCarthy, Zadie Smith, Bret Easton Ellis, and/or others.

ENGL 110: Popular Film Genres (English and American Popular Genres)
CRN: 11166
DAYS: Tuesday 2-4:45; Thursday 2-3:15
Marsha F. Cassidy (
Spies, femmes fatales, drug lords, psychotic killers, and zombies, face off against patriots, detectives in fedoras, unlikely heroes, Final Girls, and apocalyptic survivors.  And true love triumphs over false.  These are some of the tried-and true conventions of popular film genres we will investigate.  Through readings, discussions, and online assignments, we trace the history of our culture’s major popular genres in literature and film—particularly espionage, crime and detection, horror, and romance—and study controversial ideas about the status and implications of popular art.  Questions of race, ethnicity, sexual orientation, and gender overarch the course.

On Tuesdays, a feature-length film is screened as a required part of classwork.  Online assignments shorten screening days and replace one Thursday class a month.   With permission, English 110 counts as credit toward the Moving Image Arts Minor.

ENGL/NAST 112: Introduction to Native American Literatures                     
CRN 34771/34772              
Days: MWF 11:00 – 11:50
Instructor: MaryAnne Lyons (
The goal of this course is to familiarize you with the literatures of Native America, from traditional oral narratives and rituals to the most recent works of living Native American and First Nations authors. We will look at these works within the contexts of the history, public policy, issues, trends, and influences that inform them. We will focus primarily on the genres of fiction and life-writing, with some attention also given to poetry and film. The course is intended as a beginning, an introduction, rather than a complete and comprehensive account of the languages, literatures, cultures, and histories of the hundreds of Native American and First Nations groups who call this continent home.

ENGL 113: Introduction to Multiethnic Literatures in the United States
CRN: 11238
Days: MWF 12:00-12:50
Vincent Adiutori (
The connections between literature and the construction of identities—individual, familial, tribal, national, and global—have a long history. As the United States worked to free itself of the residual influences of old Europe, it looked to literature—and representation more generally—to help imagine the possibilities of unity given different experiences of, as well as expectations and goals for, the nation. Moving into and through the 20th century a greater demand is placed on multiethnic accounts of life in the U.S., emphasizing those stories otherwise thought unworthy of representing the nation at large. It is in the contemporary period that we begin to see the different ways in which authors think about social life in the U.S. and how literature contributes to visions of individual and collective life. More importantly, one might argue, multiethnic literature today often takes up the task of thinking critically about the fragility of unity and literature’s ability to expose the very contentiousness at the center of imagining a shared sense of the world. In addition to novels, we will apply critical thinking, reading, and writing techniques to essays, film, photography, music, and other relevant media.

ENG 114: Introduction to Colonial and Postcolonial LIterature
CRN 27712
Days: MWF 11:00-11:50
Instructor: Jennifer Marina Lewis (
Who has a “voice” and how is it heard (or suppressed)? In this course we will examine some classic texts (Jane Eyre and Germinal, for example) in the context of colonialism and we will explore literature that responds to and critiques portraits and representations of the “colonized.” We will read novels, short stories, poetry and critical essays and will focus on writing argumentative/persuasive essays about literature.

English 120: Documentary vs. Narrative Film: Writing About the Fiction of Facts
CRN: 35432
Days: M 3:00-4:50, W 3:00-5:45
Instructor: Lindsay Marshall  (
In this Film and Culture course, we'll examine documentary films and the truths they claim to tell: are documentaries different from "fictional" films and in what ways? Why do we (or do we) assume that documentaries are more "real" than other films? The plan for the semester is to view both documentary and fictional accounts of specific events, themes or subject matters, and to interrogate the ways in which the same story – or a version of it – gets told differently. Each viewing will be informed by several critical readings related to film structure, historical perspectives, and critical reception surrounding the films.

ENGL 120: Film and Culture: Mainstream Subversion and the “Revolution” of ‘67
CRN 26208   
Days: T 3:30-6:15, R 3:30-5:15
Jessica Berger (
This course will explore the intersections between film and American culture with an emphasis on so-called subversive, often counter-cultural texts.  In examining a wide range of “classic” and “cult” films from the silent era to today, we will explore the nature of cinematic revolution, its relationship to the commercial and historical, and seek to ask and answer significant questions about our visual culture and its symbiotic engagement with our sociopolitical beliefs.  To further our understanding, we will view films, read articles, and seek to build a working knowledge of the formal components of moving image arts with an emphasis on the ways films construct and convey meanings through generic repetition and aesthetic innovation.  Films viewed will include titles as diverse as Bonnie & Clyde, L’Avventura, and Eraserhead.  Students should expect to write a number of short papers, prepare at least one short presentation, and engage in research/viewing outside of class time.

ENGL 122: Understanding Rhetoric: Persuasion and Ideology
CRN: 32345
Days: MWF 2:00-2:50
Kevin Carey (
If you've heard anything about rhetoric, it's most likely negative. As the story usually goes, it's what politicians or marketers use to get you to vote for them or buy their products. Similarly, ideology also has a bad rep – we use it to refer to the false ideas and beliefs of other people. But if people have false or harmful opinions, wouldn't we want to persuade them (rhetoric) to believe and act otherwise? Yet in order to persuade them, wouldn't they have to share some common values with us (ideology) in order to listen to and take us seriously in the first place? If so, then it would seem that in order to persuade someone of something, that person would need to be open to being persuaded. So, how are people made open to being persuaded by some ideas and not others? These are some of the questions we will take up this semester. In trying to answer the question of what rhetoric is, we will be led to ask what language is and what we are as human beings. This course is introductory. It requires no prior knowledge of or experience with rhetoric. It will require curiosity and a willingness to being persuaded that what you think you know about language and yourself may not, after this class, be so clear or so convincing.

ENGL 121: Understanding Rhetoric
CRN: 34823
Days: T TH 930-1045
José M. Castellanos (
In this course we will be looking at several definitions of rhetoric, including rhetoric as the art of persuasion, the available means of persuasion, rhetoric as identification, and others. We will begin by asking the question “what is rhetoric?” through a close reading of Socrates’ examination of the rhetorician in Gorgias.  Next, we will learn basic ancient methods of rhetoric from Plato and Aristotle and learn how they are both used and challenged in today’s forums.  We will also read sections from Julie Lindquist’s A place to Stand so as to understand how
rhetoric functions in everyday arguments, such as in a working class bars. Finally, we will conclude the course with readings from The Art of Rhetoric as we return to concepts from Gorgias concerning the rhetorician’s ability (or inability) to either create or point to what is

Goals for the course include:
•       To develop an awareness of the pervasive power of rhetoric.
•       To develop an understanding of some basic concepts of rhetorical theory.
•       To develop tools for reflecting critically on the rhetorics of your life and community.
•       To reflect on rhetoric’s relationship to justice.

ENGL 123: Introduction to Asian-American Literature
CRN: 32405/19879
Days: MWF 1:00-1:50
Dongho Cha (
This course will introduce you to a range of literature written by Asian American authors and some cultural, political, and economic issues that shape the study of Asians in the U.S. We will consider basic questions about the formation of Asian American identities and about the literary and aesthetic forms of representation explored by Asian American writers and artists. For example, we’ll be asking the following questions: What are the foundational experiences and histories that characterise Asian American? What is the relation of Asian Diaspora to the U.S. nation-state? Who is included in the category “Asian American”? How do Asian immigrants become American ethnics? How do they become writers? What do they achieve for themselves and for their groups by participating in national literary and rhetorical traditions? Our reading will include Frank Chin, David Henry Hwang, Chang-Rae Lee, Fae Myenne Ng, Julie Otsuka, Jhumpa Lahiri, Maxine Hong Kingston, and others.

200 Level

ENGL 200:  Basic Grammar
CRN:  35758
Days:  MWF  12:00-12:50 p.m.
Katherine Parr (
Grammar is an important component to writing.  It enables a writer to produce sentence structures that affect how well a message, essay, or other document will be received by the reader.  This section of Basic English Grammar will apply a rhetorical lens to the traditional study of grammar and style.  Students will recognize parts of speech in terms of their functions in sentences and will practice sentence forms in order to appreciate the impact of a sentence on its reader.  Students will also produce short essays and will examine works by professional writers in terms of their grammatical and stylistic choices, recognizing that good writing is situation appropriate.

ENGL 200: Basic English Grammar
CRN: 21003
Days: T/R 9:30 – 10:45
CRN: 34460
Days: T/R 12:30 – 1:45
Mimi Rosenbush (
This course will closely examine the English sentence. By looking at the function of sentence elements, students will develop an understanding of word classes, the expanded verb pattern, and sentence variations and their applications. The last part of the class will cover morphology and purposeful punctuation. In addition to take-home quizzes and exams, students will complete two projects: a syntactical and morphological analysis of Jabberwocky, and Language Logs, an analysis of grammatically interesting variations of standard sentences. In examining what they intuitively know and have learned about the English language, students will achieve confidence and proficiency in making the grammatical choices necessary to produce meaningful and accessible English sentences.

ENGL 200: Basic English Grammar
CRN: 12066
Days: MWF 9-9:50 am
Robert Romeo (
We were born with an innate ability to speak our first language, and by kindergarten we had enough language competence to produce grammatical sentences. This “internalized knowledge” of our first language is something we take for granted. This is an English grammar course. Those of us who speak English as a first language often have not looked at the patterns, relationships and structures upon which the English sentence is built. We will do so this semester. You are expected to learn the terminology associated with this discipline. Our goal will be to look carefully at the English language and its grammar – a fascinating, useful and intricate body of knowledge. By taking a close look and having experiences with these tools, you will develop a working relationship with the components and patterns of English grammar.

ENGL 202:  Media and Professional Writing
CRN: 32314
Days:  MWF  10:00-10:50 a.m.
Katherine Parr (
This section of English 202 will reflect the workings of the professional workplace.  Your assignments are drawn from the kinds of assignments you would be given in the field of media communications -- whether as a journalist, a public-relations professional, or a technical writer.  Because media communication has become entwined with the Internet, we will use our time on some days to work in the computer lab.  I hope that we can truly reflect the professional workplace, optimizing your experience as a professional writer, and that you will enjoy the class.

ENGL 202:  Media and Professional Writing
CRN: 26210
Days:  T/TH  9:30-10:45 a.m.
Cheryl Reed (
This course is designed to help prepare English students for writing internships and professional writing careers. The assignments are drawn from the kinds of tasks a professional writer in journalism, public relations, communications or social media would be given. You will learn how to write a press release, craft a media campaign, write feature stories and personality profiles, create and maintain a blog, and design a website and electronic newsletters. You will learn how to communicate to a variety of audiences and how to work with online software programs. The goal is that by the end of the semester you will have a professional writing portfolio to show to prospective employers.

ENGL 202:  Media and Professional Writing
CRN: 23568
Days:  T/TH  2-3:15 p.m.
Cheryl Reed (
This course is designed to help prepare English students for writing internships and professional writing careers. The assignments are drawn from the kinds of tasks a professional writer in journalism, public relations, communications or social media would be given. You will learn how to write a press release, craft a media campaign, write feature stories and personality profiles, create and maintain a blog, and design a website and electronic newsletters. You will learn how to communicate to a variety of audiences and how to work with online software programs. The goal is that by the end of the semester you will have a professional writing portfolio to show to prospective employers.

ENGL 210: Introduction to the Writing of Poetry
CRN: 12086
Days: TR 2:00-3:15pm
Brianna Noll (
This course will introduce beginning and continuing writers to the elements of poetry via reading, writing, and discussion of poems and essays about poetry and craft. Students will examine what poems communicate, and particularly how they “work,” in order to develop the skills of a creative writer and the vocabulary necessary for reading, discussing, and critiquing the poetry one reads. The first half of the course will be devoted to the study of poetic craft. In the second half of the course, students will write poems to be presented in a workshop environment in order to spark ideas for revision. We will think of poems as works in progress, with the workshop in service of furthering an initial draft. Course requirements include one close-reading paper, an ars poetica (statement of poetics), and a final portfolio of polished writing.

ENGL 210: Introduction to the Writing of Poetry
CRN: 12082
Days: MWF 11:00-11:50
Tyler Mills ( /
This course is designed to engage beginning and continuing writers in reading, responding to, and writing poems. We’ll read a wide sampling of American poets (including but not limited to Elizabeth Bishop, Anne Carson, Paul Lawrence Dunbar, Robert Frost, Allen Ginsberg, Gwendolyn Brooks, Edgar Allen Poe, Bernadette Mayer, Sylvia Plath, Wallace Stevens, and Walt Whitman) while examining key poetic techniques and strategies (simile, metaphor, meter, rhyme, and kinds of poetic lines). Students will also present their thoughts on a sample of brief essays about poetry, some written by poets, some written by critics. This will drive our inquiry into these complicated, ever-evolving questions: What is a poem? What does a poem do? As this is a creative writing course, students will complete writing exercises in class, leading up to the second half of the course, which will run as a poetry workshop. This course requires avid participation (written and verbal), brief assignments, presentations, and a final portfolio of poems and statement of process and aesthetic. The class will culminate in a mini “Reading Series” where students will perform their work for their classmates the last week of class.

ENGL 212: Introduction to the Writing of Fiction
CRN: 12098
Days: T/Th 12:30-1:45 p.m.
Cheryl Reed (
This course is designed to hone fiction writing skills and teach writing students how to read like writers. The course will focus on craft techniques and how to emulate successful writing through close reading and revision. We will study several short fiction pieces and examine the ways in which the writers chose to tell their stories and which structures and devices they used successfully. Students will write two stories, several short writing exercises and provide constructive peer reviews and close analysis of published pieces. The goal is that by the end of the course students will have at least one polished short story and be able to provide thoughtful feedback in a writing workshop.

ENGL 212: Introduction to the Writing of Fiction
CRN: 36170
Days: MWF 2:00-2:50 p.m.
Chris Bryson (
This course is designed with two aims in mind: to develop your fiction writing skills and enhance your abilities as readers of fiction. In this course we will begin by reading a number of works by established authors. We will examine the ways in which such writers employ various techniques, styles, and devices. You will write two stories, one shorter (5-7 pages) and one longer (10-12 pages), several short writing exercises of about 2-3 pages each, responses to the weekly readings, and several other short assignments and in-class writing exercises.

ENGL 212: Introduction to the Writing of Fiction
CRN: 22428
Days: MWF 9:00-9:50 a.m.
Adam Jones (
This class is focused on learning the basic elements of writing fiction. We will read a variety of short works, analyzing their formal components: plot, character, dialogue, narration, setting, etc. We will also complete exercises designed to practice using those components ourselves. Additionally, each student will complete and submit one story that synthesizes the different components covered in the class, which the class will collectively workshop. Overall, students will learn to read more critically (“reading as a writer”), will practice the “moves” available when writing fiction, and will gain experience participating in a fiction workshop.

ENGL 222: Tutoring in the Writing Center
CRN: 36408/32315
DAYS: M 3:00-4:15
Tyrell Stewart-Harris (
English 222 is a course for students who would like to become writing tutors. This is an intensive writing course where students will not only learn about tutoring and effective strategies for tutoring, but also get a full introduction to writing center theory and the work required in the various roles that take place in the writing center. In addition to meeting weekly for class, all students will be required to train and work (unpaid) in the Writing Center for two hours a week as writing tutors.

Students will receive a grade at the end of the semester that assesses their academic work for the course as well as their professional commitment to tutoring. Professionally, tutors are expected to be on time, respectful of students and faculty, supportive and attentive to all the writers who use the Writing Center, and receptive to coaching from their instructors and the Writing Center’s faculty staff.

ENGL 222: Tutoring in the Writing Center
CRN: 12108/36405
Days: W 2:00-3:15 pm
Kim O’Neil (
English 222 is an intensive reading and writing course for students who would like to be writing tutors.  As such, students will not only engage critically with writing center theory, but also put theory to practice in developing respectful, collaborative, and effective tutoring strategies. Activities include: observation of experienced tutors in 1:1 sessions and groupwork; cross-tutoring; participation in class discussions and presentations; reflections on tutoring sessions, aided by transcription and discourse analysis; weekly reading and writing assignments on, among other things, current tutoring research, diverse learning styles, and the roles of identity, power, and ideology in education; and a final, longer project.  In addition to meeting weekly for class, all students will be required to train and work (unpaid) in the Writing Center for 2 hours per week as writing tutors.Students receive a grade at the end of the semester that assesses their academic work for the course as well as their professional commitment to tutoring. Professionally, tutors are expected to be on time, respectful of students and faculty, supportive and attentive to all the writers who use the Writing Center, and receptive to coaching from their instructors and the Writing Center’s staff.

ENGL 222: Tutoring in the Writing Center
CRN: 33816/36409
Days: R 2:00-3:15 pm
Kim O’Neil (
English 222 is an intensive reading and writing course for students who would like to be writing tutors.  As such, students will not only engage critically with writing center theory, but also put theory to practice in developing respectful, collaborative, and effective tutoring strategies. Activities include: observation of experienced tutors in 1:1 sessions and groupwork; cross-tutoring; participation in class discussions and presentations; reflections on tutoring sessions, aided by transcription and discourse analysis; weekly reading and writing assignments on, among other things, current tutoring research, diverse learning styles, and the roles of identity, power, and ideology in education; and a final, longer project.  In addition to meeting weekly for class, all students will be required to train and work (unpaid) in the Writing Center for 2 hours per week as writing tutors.Students receive a grade at the end of the semester that assesses their academic work for the course as well as their professional commitment to tutoring. Professionally, tutors are expected to be on time, respectful of students and faculty, supportive and attentive to all the writers who use the Writing Center, and receptive to coaching from their instructors and the Writing Center’s staff.

ENGL 222: Tutoring in the Writing Center
CRN: 12110 / 36407
Days: Tuesdays 3:30 - 4:45 pm.
Vainis Aleksa (
Tutoring is an opportunity to serve others while learning more about writing. English 222 students meet once per week in class to discuss various approaches to tutoring, including helping others in both individual and group settings.  Our focus will be on methods that foster an environment where all UIC students and instructors are seen as welcome and ongoing members of an open learning community. Weekly assignments include readings, quizzes, written reflections and analyses of tutoring conversations, and a longer writing project focusing on an issue related to tutoring. As part of the class, students will be scheduling two hours per week to tutor, starting the fourth week of the semester. Instructional staff will be available to answer questions and coach the English 222 students as they tutor.  Attendance and being on time is a requirement for both class and tutoring.  Course readings include The Bedford Guide for Writing Tutors by Leigh Ryan and Lisa Zimmerelli, the UIC Writing Center Handbook, available online on the Writing Center’s <>, and the sixth edition of Rhetorical Grammar by Martha Kolln and Loretta Gray.

ENGL 232: History of Film I: 1890 to World War II
CRN: 12114/12118
DAYS:  MW 3:00-4:50
Martin Rubin (
An overview of film history from the late 19th century to the late 1940s.  Topics covered include the invention of cinema, the evolution of the film director, the rise of narrative cinema, silent comedy, the birth of the documentary, German expressionist cinema, Soviet montage cinema, the coming of sound, and Italian neorealism.  Filmmakers covered include Georges Méliès, D.W. Griffith, Charles Chaplin, Buster Keaton, Robert Flaherty, Sergei Eisenstein, Josef von Sternberg, Orson Welles, and Vittorio De Sica.  Course requirements include regular quizzes and essay assignments.

ENGL 240 Introduction to Literary Study and Critical Methods
CRN: 32318/32317
DAYS: TR 12:30-1:45  
Joseph Tabbi (
A study of critical writing, and key terms from Longinus to Derrida
with particular emphasis on how such terms are being gathered and
presented in new media: The Electronic Literature Directory, and its
metatag vocabulary of keywords in literature and criticism, will be a
main resource for the class, along with traditional readings in
Literary Criticism (David Richter, The Critical Tradition: Classic
Texts and Contemporary Trends).

ENGL 240: Introduction to Literary Study and Critical Methods
CRN: 29607/29608
Days: TR 11:00-12:15
Robin Reames (
Why do we read novels, and what happens when we do? In this course we will read a selection of novels by Jane Austen, Virginia Woolf, Elizabeth Gaskell, Jean Rhys, and David Mitchell in order to examine such questions as: What is the novel? How has the idea of the text changed over time? How do theory and cultural criticism impact composition? We will read and write critically about these texts by examining them through theory, including theories of the novel, romanticism, psychoanalysis, Marxism, postcolonialism (including race, gender, and feminism), and poststructuralism. In this way we will use theory to interpret literature and explore what it means to read literature, what it means to critique literature, and what it means to theorize about both of these activities. The course focuses heavily on students’ own writing and aims to facilitate students’ engagement in critical debates about reading literature.

CRN 12171
DAYS:  MW 10:00 - 10:50  Sections F  1:00, 2:00
Mary Beth Rose (
This course will survey English literature from the Anglo-Saxon era through the late seventeenth century. We will study texts from the medieval and  early modern centuries with the following goals: exploring the development  of literary forms, such as lyric and narrative poetry, drama, satire, and  prose fiction and non-fiction; becoming acquainted with various kinds of  literary analysis and approaches, including close, in-depth reading of texts and  examining the ways that texts participate in history;  and considering  the changing representation of such issues as gender, social class, race, and heroism.

ENGL 242:  English Literature II, 1660-1800
CRN 12192
DAYS:  MW 12:00-12:50, F Sections at 11:00 or 12:00 (separate CRNs)
Lisa A. Freeman (
This course serves as the second part of the History of English Literature series.  During the semester we will study a sampling of works from major authors of the Restoration through Victorian periods.  Our goal will be to further our knowledge of literary form and content by developing a better understanding of the relationship between literary structures and the stories they tell.  While we will approach literature in its cultural and historical contexts, we will also strive to develop an understanding of the study of literature as a discipline requiring the use of specific tools and methods.  Readings will include works by:  Aphra Behn, Daniel Defoe, Alexander Pope, Jane Austen, Samuel Taylor Coleridge, William Wordsworth, Percy Shelley, and George Eliot.

CRN:  27429/27430
DAYS:  TR 9:30-10:45
Christina Pugh (
In this course, we’ll study American literature from the colonial period through 1900, covering works that span several genres:  poetry, essay, fiction, and memoir.   The course will consider these works both as literary texts and in their relationship to social and intellectual life in North America during this lengthy period – with particular attention to Puritanism, “self-reliance,” and the Civil War.  We’ll read works by Anne Bradstreet, Jonathan Edwards, Benjamin Franklin, Harriet Jacobs, Ralph Waldo Emerson, Emily Dickinson, and Walt Whitman, among others.  The course will include a short paper, a longer paper, and an oral presentation, with an exam or exams to be determined.

CRN 36963/36964
DAYS: MWF 11-11:50AM
Chris Messenger (
A study of American Literature’s dynamic beginnings through the nineteenth century.  Authors and works include Hawthorne, STORIES; Douglass, AUTOBIOGRAPHY; Melville, BENITO CERENO; Sedgwick, HOPE LESLIE; Stowe, UNCLE TOM’S CABIN; Whitman, Dickinson,  Harriet Jacobs, Twain, S. Crane.   Two short papers, midterm exam, final exam, several ungraded reaction papers. Inquiries welcome.

300 Level

ENGL/MOVI 302:  Studies in the Moving Image:  Film and the Body
CRN: ENGL 21666; MOVI 24426
DAYS: Monday 3-5:45; Wednesday 3-4:50
Marsha F. Cassidy, PhD (
Controversial new approaches to the study of film and the body are posing fundamental questions about cinema:  How do the images and sounds on the screen engage all our senses and provoke a full range of corporal feelings and human emotions?  With the help of ideas from film theory, evolution, neuroscience, and philosophy, this course explores key biocultural phenomena that mold our sensual, visceral, kinesthetic, and emotional responses to film.  We will read the work of ground-breaking film scholars who focus on a film’s potential to activate the full spectrum of these sensations, all within a cultural context.  A wide range of films screened in class on Mondays will illustrate the central concepts of the course.      

CRN 34171
MW  1:00-1:50  Sections F 1:00, 2:00
Mary Beth Rose (
This course will explore eight of Shakespeare’s comedies and history plays written during the first half of his dramatic career.  Class discussions will focus on the ways in which the plays explore the construction of heroism in different forms of drama; shifting conceptions of gender and sexuality; and conflicted representations of political authority (especially monarchy), race, and social class. We will also consider scenes from some modern film versions of the plays.

CRN:  35511
TR 12:30-1:45
Christina Pugh (
To understand what is really at stake in literary texts, we have to start at the beginning.  This course provides a comprehensive study of literary criticism from Plato and Longinus through deconstruction, giving students the opportunity to read works of criticism that are foundational (and indispensable) for the English major and for other studies in the humanities.   These are works that you may have seen referenced, but never had the chance to read in the original.  Some highlights of the course include the following:   the concept of mimesis, or imitation, in Plato and Aristotle; the historical development of the sublime; the Romantics’ conception of the poet, and New Criticism’s creation of a radical autonomy within the literary text itself.  We’ll address the following questions:  what is the role of the writer or poet in social and cultural life?  What are the perceived “dangers” of literary representation at various historical moments?  How do writers and critics construct readers and particular ways of reading?  Where does meaning reside – inside or outside of the text, and how will we discern the borders that would define such a distinction? Finally, we’ll continually ask how literature impacts, or becomes parasitic upon, the other arts such as painting, photography, or music.  The course will include short papers, a longer paper, and an oral presentation.

ENGL 375: Rhetoric and Public Life
CRN:  33326
Days:  MWF 2:00-2:50 pm
Ralph Cintron (
This course is interested in how such concepts as justice, equality, and freedom are linked to rhetoric.  But what is rhetoric?  Here is the start of an answer: Rhetorical studies as a “discipline” (as something named, taught, practiced, and disputed) has persisted throughout the Western tradition for approximately 2500 years.  But its practices, whether named or not, are surely older than that, for we need to realize that, as a consequence of language use and human interaction, rhetoric (narrowly defined as the art of making arguments) is something that we mobilize daily, if not hourly.  (Incidentally, since most peoples have standards regarding the use of language and since they teach those standards to others, we can say that all peoples have a “rhetorical tradition” and that Greece was only one location, and not even the first location, where the study of “rhetoric” occurred.) 

The course will start with key texts from Plato and others of his era who established the basic debates regarding rhetoric as an enduring problem.  We will be particularly interested in how Plato thinks about justice, equality, freedom, and democracy.  How did he link these to the study of rhetoric?  What did all these terms refer to in Plato’s day, and how should we imagine them in our own era?  We will spend a considerable amount of time not only in recent and contemporary rhetorical theory but also in matters of political economy from both the right and left.  How do economists such as Milton Friedman, Friedrich Hayek, Joseph Schumpeter, and Joseph Stiglitz imagine freedom, equality, and justice?  How do Marx and Engels imagine the same concepts?  How, during the heat of the French Revolution, did a figure like Gracchus Babeuf imagine the same as he rhetorically defended his views before a jury that did not accept his arguments and sentenced him to death?  What is the rhetoric of social justice—should we prefer it to justice itself?  Or what about ownership and private property?  On what basis do we claim to own anything?  Does a cash transaction make ownership self-evident?  Indeed, what is self-evidence?

In sum if rhetoric has any use, it is that it might tell us something about everyday discourse and arguments.  Certainly, one of the big concerns in our current “public life” are the never ending disputes regarding big government versus small government, liberals versus libertarians, the right of the government to tax or not tax, the nature of private property and ownership, the nature of debt, and the value (or not) of the commons.  These actually are ancient topics, and they are always rhetorically inflected.  The course, then, will not only lay out basic concepts regarding rhetoric, but it will also explore some of the most enduring and compelling issues that concern public life—the problems of equality, justice, freedom, and so on.

The course will be run as much as possible through PDFs.  I do not expect at this time that we will need to purchase books.

400 Level

ENGL 402: Rhetoric
DaysT/R 12:30-1:45
CRN: 35512/35513
Robin Reames (
This course is designed to offer students an intensive study of central topics in rhetorical theory in their historical depth. In particular, we will examine the beginnings of the discipline of rhetoric as a byproduct of the “literate revolution” in ancient Greece, where the development of writing technology transformed thought and enabled the development of rhetorical technology. We will approach this transformation in antiquity from the present day, where our own “technographic revolution” transforms how we communicate, think, and live. This course will be guided by a set of fundamental questions. Namely, what is rhetoric? What is at stake for its traditional (Aristotelian) definition as an “art” or “techne”? What, if anything, is the difference between a techne, a technique, and a technology? What is the relationship between the original development of the discipline of rhetoric and the contemporary development of new media and communicative technologies?

ENGL 413: TOPICS IN SHAKESPEARE                                                                              
CRN: 33328/33330        
Days: TR 11:00-12:15 pm
Alfred Thomas (                                            
Defiant Will: Dissent, Religion, and Theatre in the Age of Shakespeare: Shakespeare’s theatre represented one of the few channels of dissent in early modern England. Audiences came in their thousands not only to be entertained but also to be informed and provoked by religio-political issues that were strictly speaking off-limits: the role of the state in matters of conscience and religion, the fate of non-conformists in a world of religious intolerance, and the legacy of Catholic teaching and dogma under a Protestant dispensation. Readings include Marlowe’s “Doctor Faustus” and “The Massacre at Paris” and Shakespeare’s “Titus Andronicus,”  “King Lear,” and “Macbeth.”   

ENGL 419: Topics in Romantic Literature and Culture: JANE AUSTEN
CRN: 35514,35515
Days: T 3:30-6:15
Instructor: Mark Canuel (
Over the course of the semester, we will read a wide sampling of Jane Austen’s novels, examine her letters, read her biography, and see some film adaptations of her works.  Some criticism and history will be assigned so that we can appreciate the ways in which Austen’s work reacted to aspects of her particular moment in history.  While focusing much of our attention on features of her work that readers have loved for many generations—the lively and ironic narrative style, the vivid characterization, the stirring evocations of romantic love—we will also consider the ways in which her work framed responses to serious concerns of her time (revolutionary politics, feminism, and the fate of established religion, to name a few).  Requirements: attendance, 2 papers,  short on-line assignments, and final exam.
ENGL 427: Topics in American Literature and Culture, 1900-present
CRN:  35518/35519
R 3:30-6:15                                                                                                                                
Joseph Tabbi (
For a long time, critics have talked about innovative writing in terms of historical periods: traditionalist, realist, modernist, post-modernist, for example. The assumption implicit here is that humans are somehow, individually or collectively, in control of such developments. Or that we should be: "Always Historicize!" was the battle cry of post-modernism, articulated by leading Marxist theorist Frederic Jameson in the 1980s. But is historicization even possible now, with so many contenders for so many histories taking their observations in so many directions? The current discourse on “the posthuman,” in its more interesting instances, circumvents historicist approaches and instead posits non-human actants, beyond what is now seen as a relatively narrow realm of experience that can be grasped (or governed) by human consciousness. This course looks as various imaginative works that can be best described as "posthuman" - in particular, those written and cited by the authors of a recent essay collection, "Fiction's Present." We also read some examples of literary theory that can help us to articulate these differences from the humanist, historicist outlook.

ENGL 473: Topics in African American Literature
CRN: 35771/35812
Days: TTh 12:30-1:45pm
Ainsworth Clarke (
From Black Studies to African American Studies and Back Again: In the age of Obama the continued relevance of race and by extension departments of African American studies has increasingly been questioned. If race is receding as the defining term of African American experience, why should it still organize a field of knowledge? What, after all, are we studying when we study “Blackness”? This course aims, if not to answer these questions, to at least find a better way of asking them by turning to the debates that inform the establishment of Black Studies as a disciplinary field. This course is divided into three parts, each focused on a critical juncture in the development of Black Studies. We will first trace the emergence of Black Studies as a distinct field of inquiry in the 1890s in the work of W.E.B. Du Bois, Alexander Crummell, other members of the American Negro Academy before transitioning to a comparative analysis of that earlier moment with the terms governing the establishment of departments of Black Studies on the university campus in the late 1960s. We will conclude the semester by assessing the various contemporary attempts to rethink the field in the work of Alexander Weheliye, Ronald Judy, Fred Moten, Sylvia Wynter and others.

ENGL 481: Methods of Teaching English in Middle and Secondary Schools
CRN: 33811/33812
Days: TR 2:00-3:15 pm
Todd DeStigter (
Taken in conjunction with ED 330/432 (Curriculum and Instruction), English 481 is the capstone course in the sequence of English Education methods courses.  It is to be taken the semester before student teaching.  The course’s central objectives focus on the tensions that emerge between theory and practice when teachers construct and enact lesson and unit plans within the discipline.  Special attention will be paid to the ways in which texts interact with one another (how they align, how they contradict), and how teachers’ methodological choices are influenced by the theoretical frameworks they adopt.  Additional focus will be on long and short term planning and sequencing, and on responding to the interests and skills of secondary school students.  In addition to written work, English 481 students will lead discussions, organize small group activities, and practice lesson plans they design.

ENGL 482: Campus Writing Consultants
CRN: 21190/21191
Days: TR 11:00-12:15
Charitianne Williams (
English 482 focuses on Writing Center Theory specifically for future educators. We will examine the relationship between students’ language use and their educational experiences, and how an educator’s awareness of these factors can lead to a healthier educative environment for students. Collaborative and anti-oppressive pedagogical practices will be emphasized. In addition to the 2 hours of instruction time, class members are required to complete 2 hours of one-on-one tutoring in the UIC writing center per week.

ENGL 486: Teaching Writing in Middle and Secondary Schools
CRN’s: 20658 (undergraduate); 21082 (graduate)
Days: MWF, 10:00-10:50
Instructor: Kate Sjostrom, (
Why teach writing? and How can we teach writing more effectively and responsibly?  These are the main questions we will try to answer as we work together in English 486.  Drawing from a wide range of sources such as Kirby and Crovitz’s Inside Out and from professional periodicals like the English Journal, we will think about writing not only as a transfer of information from one person to another but as a process of learning—a way of thinking critically, reflectively, and precisely about issues that are important to us.  In our readings, we will encounter many practical, day-to-day activities suggested by experienced and successful writing teachers; we will model and practice these activities as we write extensively together; we will read and assess each other’s work; we will talk about how to teach students to write in a variety of genres.  In essence, we will create an environment where you can develop your professional identity as a writer and teacher of writing by actually participating in the types of practices you may soon be implementing in classrooms of your own.  Also, in order to understand more clearly why we find certain ways of teaching writing to be more useful and ethical than others, we will discuss ideas that lend coherence and justification to our specific classroom activities (what some people call “theory”).  Whatever generalizing we do, however, will be grounded in the particular details of working toward the goal of this class: that is, to prepare you to establish and maintain a productive community of writers.  
Course requirements include 12-15 hours of field work in an area high school, two portfolios demonstrating what you’ve learned in various sections of the course, and a series of plans that integrate reading and writing.

English 490: Advanced Poetry Writing
CRN: 12504/20335
Days: W 3:00-5:45
Chris Glomski (
English 490 is the advanced undergraduate poetry workshop and the successor to English 210, which is its pre-requisite (and in which UIC students are required to achieve a grade of “B” or better).  If you enroll for this course you are expected to have a working knowledge of basic poetic forms, meters, and tropes, and to have some experience participating in a creative writing workshop.  In addition to pursuing your own work, you should be prepared to respond to various poetic writing assignments (intermittently given throughout the semester), to offer regular critical commentary on peer work, and to deliver informal, but thoughtful, presentations on assigned topics.  Readings will focus on a course topic to be announced.  Previous topics have been “Years of the Modern,” “Secrets of Surrealism,” “Literary Anthologies, Literary Communities,” “Poetics of Dissent,” and “Poetry, Technology, and Social Media.”

ENGL 491: Advanced Writing of Fiction
CRN: 35763/35764
Days: M 3-5:45
Cris Mazza (
This advanced fiction workshop is for students who have taken English 212 (or the equivalent).  Knowledge of fiction-writing techniques and willingness to engage in open discussion of work-in-progress are necessary. Failure to participate will adversely affect grades. Each student will write 3 story drafts and critiques for every other peer-evaluated story.  Other reading assignments TBA. This workshop will not accept work that is genre fiction: no science fiction, mystery, horror/gothic, romance, graphic fiction or conversion doctrine.  There will be additional required guidelines to assist students broaden the scope of their approach to writing. Work that was initiated in a previous 212 course is permissible if revised since last seen by a workshop.

ENGL 491: Advanced Writing of Fiction
CRN: 12509/20342
Days: T 3:30-6:15
Cris Mazza (
This advanced fiction workshop is for students who have taken English 212 (or the equivalent).  Knowledge of fiction-writing techniques and willingness to engage in open discussion of work-in-progress are necessary. Failure to participate will adversely affect grades. Each student will write 3 story drafts and critiques for every other peer-evaluated story.  Other reading assignments TBA. This workshop will not accept work that is genre fiction: no science fiction, mystery, horror/gothic, romance, graphic fiction or conversion doctrine.  There will be additional required guidelines to assist students broaden the scope of their approach to writing. Work that was initiated in a previous 212 course is permissible if revised since last seen by a workshop.

ENGL 493: Internship in Nonfiction Writing
CRN: 25243/25244
Days:  R 3:30-4:45 p.m.
Linda Landis Andrews (
The metropolitan area of Chicago offers many internship opportunities for English majors in  non-profits, corporations, government agencies, fundraising, and public relations.  Tasks vary and may involve writing and managing social media for an organization, feature stories, or blogs; or interviewing employees for an organization’s newsletter. While they are writing, editing, or researching approximately 14 hours a week in an internship, students are enrolled in English 493, a six- or three-credit course that meets once a week.
Writing samples, resume and cover letters, which are generated in ENGL 202, are required to apply for an internship. In the ENGL 493 class students have an opportunity to share knowledge gained in the internship, write short papers, and learn about professional writing. Through  internships students examine different work cultures, gain professional skills, and build a network of contacts before graduation.

500 Level

ENGL 517: British Literature and Culture                                                                   
CRN: 35521                                                                                                                        
Days:  R 2-4:50 pm
Alfred Thomas (
Reading Women in the Later Middle Ages
What did it mean to be a woman reader in a period when most people were illiterate and few women had access to formal education? And how do we define “reading” in an age when most people were visually literate, that is to say, derived their knowledge of the world from images such as stained glass and statues in churches? Although men dominated the world of university learning, the later Middle Ages witnessed the burgeoning phenomenon of lay readers that included women as well as men. Women like Julian of Norwich and Margery Kempe (who was illiterate in our modern understanding of the term) were just the tip of the iceberg. And how did men react to women’s increasing access to books and the ideas expressed in them? In this course we will examine the issue of medieval women both as readers of texts and as “read” objects of male fears and fantasies of the female sex.  Readings include Chaucer’s “The Wife of Bath’s Tale” and “The Legend of Good Women;” Christine de Pisan’s “The Book of the City of Ladies,” and “The Book of Margery Kempe.”

ENGL 537 Global and Multiethnic Literatures and Cultures
CRN: 33331
Days: W 2:00-4:50
Madhu Dubey (
This course will examine the implications of globalization for literary and cultural studies.  Considering theoretical and literary/cultural texts relating to a range of regional and national contexts (including Britain, Mexico, the United States, the Caribbean, and Asia), we will try to arrive at a comparative and historicized understanding of the term ‘globalization.’ Key questions guiding the course include: Does globalization entail distinctive narrative forms and/or necessitate new methods for approaching literary and cultural studies? How does the recent advent of globalization studies relate to and/or depart from postcolonial studies and border studies? Are the categories of race and ethnicity being significantly reconfigured in the context of globalization, and if so, how are new understandings of these categories explored in the genres of film and the novel?          In addition to a selection of essays on globalization (by Appiah, Appadurai, Clifford, Dirlik, Gikandi, Hall, Jameson, Kaplan, Miyoshi, and Wallerstein, among others), the texts that will be studied in this course include novels by Kiran Desai, Mohsin Hamid, David Mitchell, Ruth Ozeki, and Karen Yamashita, performance art pieces by Guillermo Gomez-Pena, and films by Alex Rivera and Zhou Xiaowen.

English 557: Language and Literacy
CRN: 23604
Days: T 5:00-7:50 pm
Todd DeStigter (
Pragmatism, Education, and the Quest for the Democratic Subject
What does it mean to teach for justice and democracy, and what does American pragmatism have to contribute to conversations regarding whether it is desirable or even possible to do so?  These central questions will provide a framework for our exploration of the (ir?)relevance of our work as scholars and teachers of English to the world beyond our classrooms and campuses.
Although we will occasionally discuss specific curricular choices and teaching methods, most of our readings will encourage us to consider broader theoretical issues such as 1) how “democracy” can be defined and whether it remains a viable sociopolitical aspiration, 2) whether it makes sense anymore to think of the postmodern subject as capable of having an actionable ethic or intentionality, 3) the extent to which pragmatism as a philosophical/analytical method provides ways to think about the possible amelioration of sociopolitical and economic problems, and 4) whether “progressive” initiatives that stop short of political revolution or the fundamental transformation of the modes of production merely contribute to the reproduction of the status quo.
Put another way, this course will be the site of an ongoing conversation about whether we as students and teachers of English can/should hope that our work matters beyond our own intellectual and/or financial interests.  Though our reading list will evolve in response to our discussions and students’ recommendations, some possible texts are these:

PRAGMATISM by William James
DEMOCRACY IN WHAT STATE by Giorgio Agamben, Alain Badiou,
HATRED OF DEMOCRACY by Jacques Ranciere
THE PHANTOM PUBLIC by Walter Lippmann
English 557 is intended to be of interest to students in the graduate English, Education, and TESOL programs. Course requirements include bi-weekly “conversation papers” used to prompt class discussions, a mid-term paper, and an end-of-term paper/project of each student’s choosing.



Research/Independent Studies

During his or her academic career, a student may enroll in a variety of independent studies. A student must obtain approval from the professor with whom he or she expects to work. It is the student’s responsibility to find a professor willing to direct the student’s independent study. A brief description of the project or research should be attached as well. Professors have the right to decline to take independent study students in a given semester. It is also the student's responsibility to meet regularly with the professor and to fulfill the special demands of the independent study. The work should be completed in the semester in which it is undertaken.

Students then must complete an Independent Study/Research form ("the Purple Form") which needs to be signed by the professor who will supervise the work and presented to the Director of Graduate Studies for approval.

ENGL 591
Prospectus Research
1-12 credits (variable). For doctoral students only. Supervised research and development of dissertation prospectus and colloquium committee. All doctoral students are expected to enroll for Prospectus Research when they have passed their Preliminary Examination.

ENGL 592
Preliminary Exam Research
1-12 credits (variable). For doctoral students only. Supervised research and reading that facilitates the student's preparation for the preliminary examinations. Course is graded S/U only. Credit 1 to 12 hours, may be repeated for maximum of 12 hours of credit.

ENGL 596
Independent Study
1-4 credits (variable). Individualized research and study, with the supervision of a faculty member, in topics not covered by regular course offerings.

ENGL 597
Master's Project Research
0-4 credits (variable). For Master's degree students only. Supervised research and reading that facilitates the student's preparation of project research. Course is graded S/U only. May be repeated for a maximum of 12 hours. No more than 4 hours of ENGL 597 may be applied toward the degree.

ENGL 599
Thesis Research
1-16 credits (variable). For doctoral students only. All doctoral students are expected to enroll for Thesis Research when they have passed their Preliminary Examination (they must also enroll in ENGL 591). They must earn up to 32 hours for the dissertation.


First Year Writing Program