Spring 2018 Advisement Guide

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Majors reservation week is October 30 through November 3. See your advisor that week to sign up early for spring 2018 English classes.

Professor Haytock is away on sabbatical. If she is your advisor, you have been assigned a temporary advisor for this year. Check the bulletin board in the English department office or email mobourn@brockport.edu.

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Literature Concentration Advising Guide

Creative Writing Concentration Advising Guide

Undergraduate Course Descriptions

Graduate Course Descriptions

Literature Track Advising Guide, Spring 2018

Literary Analysis    

ENG 303.01  Intro to Literary Analysis  TR 2:00-3:15  Kerfoot, Alicia 
ENG 303.02  Intro to Literary Analysis  MWF  12:20-1:10  Karl, Alissa
ENG 303.03  Intro to Literary Analysis MWF  



Jurasinski, Stefan


ENG 324.01   Shakespeare: Comedies & Romances TR 11:00-12:15 Slater, Michael

British Lit before 1800     

ENG 229.01 Shakespeare & Film TR 3:30-4:45 Slater, Michael
ENG 324.01  Shakespeare: Comedies & Romances  TR 11:00-12:15 Slater, Michael
ENG 354.01 Knighthood& Chivalry  MWF  1:25-2:15 Jurasinski, Stefan
ENG 374.01  Renaissance Drama  TR 12:30-1:45 Slater, Michael

British Lit after 1800  

ENG 234.01  Austen & Pop Culture  TR 9:30-10:45  Kerfoot, Alicia 
ENG 376.01  British Novel II TR 11:00-12:15  Kerfoot, Alicia
ENG 433.01  Victorian Poetry  MWF 2:30-3:20  Burstein, Miriam

American Lit before 1900     

ENG 384.01 American Humor MWF 12:20-1:10 Young, Phil

American Lit after 1900     

ENG 241.01 American Lit II  MWF 10:10-11:00 Young, Phil 
ENG 347.01 African American Novels TR 3:30-4:45  Tait, Althea 
ENG 388.02  American South TR 11:00-12:15 Tait, Althea

World Literature    

ENG 234.01 Immigration in World Lit  TR 11:00-12:15  Allen, Sharon 
ENG 311.01  Bible as Lit  MWF 10:10-11:15  Busch, Austin 
ENG 364.01  Vision/Revision  MWF 9:05-9:55  Busch, Austin 
ENG 367.01  Women in World Literature  TR 2:00-3:15  Allen, Sharon
ENG 409.01 Postmodern World Literature  TR 9:30-10:45  Allen, Sharon 


ENG 472.01 21st Century Novel  MWF 10:10-11:00  Karl, Alissa

Upper-division electives may be chosen from the above 300- or 400-level classes, or from the following:   

ENG 300.01  Advanced Composition  MWF 1:25-2:15  Young, Phil 
FLM 301.01  Film Theory & Criticism  TR 2:00-3:15  Soles, Carter 
ENG 304.01  Fiction Workshop  MW 3:35-4:50  Panning, Anne 
ENG 304.02  Fiction Workshop  TR 12:30-1:45  Metzger, Thomas 
ENG 305.01  Poetry Workshop  TR 2:00-3:15  Fellner, Steve 
ENG 305.61  Poetry Workshop  Online   Fellner, Steve 
ENG 307.01  Playwriting  TR 3:30-4:45  Fellner, Steve 
ENG 396.01  Children's Literature  TR 9:30-10:45  Proehl, Kristen 
ENG 396.61  Children's Literature  Online   Norcia, Megan 
ENG 397.01  Young Adult Literature  TR 11:00-12:15  Proehl, Kristen 
ENG 397.02  Young Adult Literature  TR 2:00-3:15  Proehl, Kristen 
FLM 457.01  Women and Film  TR 11:00-12:15  Soles, Carter 
ENG 473.01  Ling Sec Lang Ac  TR 5:00-6:15 Barski-Moskal, Ewelina
ENG 478.01  History of English  MW 5:05-6:20 Jurasinki, Stefan 
ENG 483.01  Career Prep ENG  MW 3:35-4:50  Norcia, Megan 
FLM 490.01  Film Comedy  TR 9:30-10:45  Soles, Carter 
ENG 491.01  Advanced Fiction Workshop  M 6:30-9:15  Whorton, James 
ENG 492.01  Advanced Poetry Workshop  TR 2:00-3:15  Black, Ralph 
ENG 495.01  Writer's Craft  W 6:30-9:15  Panning, Anne 



Creative Writing Track Advising Guide, Spring 2018

Literary Analysis

ENG 303.01 Intro to Literary Analysis TR 2:00-3:15 Kerfoot, Alicia
ENG 303.02 Intro to Literary Analysis MWF 12:20-1:10 Karl, Alissa
ENG 303.03 Intro to Literary Analysis MWF 10:10-11:00 Jurasinski, Stefan

Introduction to Creative Writing

ENG 210.01 Intro to Creative Writing MWF 1:25-2:15  
ENG 210.02 Intro to Creative Writing MWF 2:30-3:20  
ENG 210.03 Intro to Creative Writing TR 12:30-1:45  
ENG 210.04 Intro to Creative Writing TR 9:30-10:45  
ENG 210.05 Intro to Creative Writing MW 3:35-4:50  

British Literature

ENG 229.01 Shakespeare & Film TR 3:30-4:45 Slater, Michael
ENG 324.01 Shakespeare: Comedies & Romances TR 11:00-12:15 Slater, Michael
ENG 354.01 Knighthood& Chivalry MWF 1:25-2:15 Jurasinski, Stefan
ENG 374.01 Renaissance Drama TR 12:30-1:45 Slater, Michael
ENG 234.01 Austen & Pop Culture TR 9:30-10:45 Kerfoot, Alicia
ENG 376.01 British Novel II TR 11:00-12:15 Kerfoot, Alicia
ENG 433.01 Victorian Poetry MWF 2:30-3:20 Burstein, Miriam

American Literature

ENG 359.01 Romanticism and Human Rights MWF 10:10-11:00 Garvey, T. Gregory
ENG 241.01 American Lit II MWF 10:10-11:00 Young, Phil

ENG 347.01

African American Novels TR 3:30-4:45 Tait, Althea
ENG 384.01 American Humor TR 11:00-12:15 Young, Phil
ENG 388.01 American South MW 3:35-4:50 Tait, Althea

World Literature   

ENG 234.01 Immigration in World Lit  TR 11:00-12:15 Allen, Sharon
ENG 311.01 Bible as Lit  MWF 10:10-11:00 Busch, Austin
ENG 364.01 Vision/Revision  MWF 9:05-9:55 Busch, Austin
ENG 367.01 Women in World Literature  TR 2:00-3:15 Allen, Sharon 
ENG 409.01 Postmodern World Literature  TR 9:30-10:45 Allen, Sharon 

Fiction or Nonfiction Workshop    

ENG 304.01 Fiction Workshop MW 3:35-4:50 Panning, Anne
ENG 304.02 Fiction Workshop  TR 12:30-1:45 Metzger, Thomas

Poetry Workshop

ENG 305.01 Poetry Workshop TR 2:00-3:15 Fellner, Steve
ENG 305.61 Poetry Workshop Online   Fellner, Steve

Advanced Workshop    

ENG 491.01 Advanced Fiction Workshop M 6:30-9:15 Whorton, James
ENG 492.01 Advanced Poetry Workshop TR 2:00-3:15 Black, Ralph

Writer's Craft    

ENG 495.01 Writer's Craft W 6:30-9:15 Panning, Anne

Upper-division electives may be chosen from the above 300- or 400-level classes, or from the following:   

ENG 300.01 Advanced Composition MWF 1:25-2:15  
FLM 301.01 Film Theory & Criticism TR 2:00-3:15  
ENG 307.01 Playwriting TR 3:30-4:45  
ENG 396.01 Children's Literature TR 9:30-10:45  
ENG 396.61 Children's Literature Online    
ENG 397.01 Young Adult Literature TR 11:00-12:15  

ENG 397.02

Young Adult Literature TR 2:00-3:15  
FLM 457.01 Women and Film TR 11:00-12:15  
ENG 473.01 Ling Sec Lang Ac TR 5:00-6:15  
ENG 483.01 Career Prep ENG MW 3:35-4:50  
FLM 490.01 Film Comedy TR 9:30-10:45  


Undergraduate Course Descriptions

ENG 102 Fundamentals of College Composition (A). For students who need practice in expository writing skills. Provides intensive work in writing standard, edited English as preparation for entering ENG 112. 3 Cr. Every Semester.

ENG 112 College Composition (A,Q). Develops skills in composition, critical inquiry and information literacy. Students generate, revise and edit several essays with special attention to the writing process. Includes an argumentative research paper that incorporates critical analysis of various sources and the use of proper documentation. 3cr. every semester. 3 Cr. Every Semester.

ENG 210 Creative Writing (A,P). Examines techniques for writing poetry, prose, and/or creative nonfiction and requires students to critique each other's and to revise their own work. 3 Cr. Every Semester.

ENG 229: Shakespeare and Film
Dr. Michael Slater
"It has become a popular commonplace that had Shakespeare been born in the twentieth century, he would have been a filmmaker." So writes Douglas Lanier in an entertaining and enormously interesting essay, "William Shakespeare, filmmaker." But what exactly does it mean to suggest that Shakespeare, writing roughly three centuries before the development of motion pictures, is an especially "cinematic" writer? While his works were certainly written for performance, can we so easily elide the historical differences between sixteenth century play script and twentieth century screenplay? How do directors translate from stage to screen, and what—if anything—is lost in such a translation? What makes for a good Shakespeare film—authenticity, fidelity to the text, creativity and/or innovation? More broadly, how do we understand the role of adaptation, and how do we distinguish between adaptation and appropriation? Over the course of the semester, we will engage with these and other questions as we explore several of Shakespeare's greatest comedies and tragedies, as well as various film productions pertaining to them. Films and texts will likely include Romeo and Juliet, A Midsummer Night's Dream, Hamlet, Macbeth, and King Lear.

English 234.01: Jane Austen and Popular Culture
Dr. Alicia Kerfoot

Jane Austen published six novels between the years 1811 and 1818, and we are still reading, adapting, re-imagining, and modernizing them today. This course will ask you to consider why Jane Austen's life and work continue to be relevant to readers today, and also what Jane Austen's popular cultural context looked like. Our emphasis will be on women's reading and writing, and the development of the Romance and novelistic genres in both the early nineteenth century and in the twentieth and twenty-first centuries. Why are we still so obsessed with the works of Jane Austen today? What does this obsession say about gender roles and identities, about women's writing, and about the way that Austen's works are used to imagine and perform these gender roles? The early nineteenth century marked an era in which women writers were increasingly aligned with novels and novel writing, while they also had to maintain a balance between public and private identities: is this still the case today? We will consider the importance of understanding the early contexts of Austen's novels in order to attempt to understand their current popularity and the way that modern and postmodern authors, filmmakers, and marketers adapt and change these early contexts for today's readers and audiences.

Dr. Sharon Lubkemann Allen
The immigrant, migrant, émigré, and exile have long been the subjects of stories and histories; and while historically marginalized and struggling to find a voice, those immigrants who do are often received as (re)visionary storytellers, representing cultures with critical insight and creative imagination from those margins. The writing of immigrants, who cross between cultures, often challenges what either culture might think of itself or the other. The immigrant figures as point of contact and conflict, of dialogue and dispute, dissolving the distance between different cultures now compressed within consciousness. In this course, we explore transcultural experiences and encounters represented in contemporary fiction, literary non-fiction, film, and fine art. We retrace a few of the countless trajectories taken by twenty- and twenty-first century immigrants. We confront what it takes and feels like and means to make complex geo-cultural crossings. We consider why and how it is that people are uprooted and transplanted, compelled to take root and cultivate growth in foreign soil. We are challenged by the ways these writers, directors, and artists interrogate various kinds of borders and boundaries and redefine national, racial, ethnic, religious, gender and other geo-cultural constructs, while pushing also beyond conventional confines of genre. We consider how they represent the different degrees and kinds of agency, autonomy, and authority experienced in the migration, immigration, emigration, and trafficking. We attend to what is lost—and found—in cultural transgression, transposition, translation, and transformation.

ENG 302 Business Writing and Computers (B). Required for business majors. Allows students to expand word processing skills to prepare communications for the business world, including letters, memos, reports, and job applications. Emphasizes editing skills. Cannot be counted for the English major. 3 Cr. Every Semester.

ENG 303 Introduction to Literature Analysis (A). For English majors and prospective majors. Provides skills needed to understand literature in English. Includes close reading of selected texts and study of literary genres, critical terms, and the relationship between text and context. Provides practice in writing literary analyses. Emphasizes skills of generating, rewriting, and editing the documented critical essay and other nonfiction prose suitable to the needs and future careers of English majors. Majors and minors must earn a "C" or better. 3 Cr. Every Semester.

ENG 304 Fiction Workshop (A). Prerequisite: ENG 210. Develops mastery of the materials and techniques of writing fiction. Requires students to objectively criticize their own work and the work of others. 3 Cr.Every Semester.

ENG 305 Poetry Workshop (A). Prerequisite: ENG 210. Examines the substances and processes of writing poetry through contemporary study and objective workshop criticism of student writing. 3 Cr. Every Semester.

ENG 307 Playwriting (A). Introduces students to full-length plays and the wide array of subgenres related to theatre: the extended dramatic monologue, choreopoems, verse plays, the 10-minute play, among others. Through intensive reading practices, students will learn how to employ various formal strategies in their own work. 3 Cr.

ENG 311: Bible as Literature
Dr. Austin Busch

Bible as Literature applies close reading techniques to extended selections of narrative and poetry from the Hebrew Bible and the New Testament. It considers biblical writings' history of composition and situates them within the context of other ancient literary traditions (especially Babylonian, Greek, and Roman).

ENG 324: Shakespeare's Comedies and Romances
Dr. Michael Slater
Shakespeare had a special instinct for comedy, or at least Samuel Johnson thought so. While the latter, in his "Preface to Shakespeare," admires the tragedies too, he felt that "in his comic scenes, [Shakespeare] seems to produce without labor, what no labor can improve ... in comedy he seems to repose, or to luxuriate, as in a mode of thinking congenial to his nature." But what makes Shakespeare's comedies so great? For that matter, what makes them comedies? This course will examine the nature of comedy, paying particular attention to the tropes and structures of the genre in both Shakespeare's early plays and his later tragicomedies, also known as his romances. We will investigate the cultural forces and practices that inform these plays, from attitudes toward magic and dreams to gender ideals and the vexed status of "race" in early modern England. But we will also consider these plays as performances within this culture, thinking especially about early modern staging practices as well as watching several contemporary productions and adaptations. By the end of the course we will have developed a better understanding of comedy in general, and of Shakespeare's comedies in particular.

ENG 347 Major African American Novels (A). Examines the genealogy of African American novels, beginning with the19th Century fictional slave narrative and resulting in contemporary novels written by African American authors that reveal a cultural mulattoism, or the merging of Eurocentric and black literary aesthetics. Explores canon politics as well as readings that restrict the material to matters of race alone. 3 Cr.

ENG 354.01 Knighthood and Chivalry
Dr. Stefan Jurasinski
Considers through its literature the origins, emergence and decline of a way of life once considered "the glory of Europe." Special emphasis will be placed in its roots in lay piety and in earlier aristocratic and martial ideals as well as on the experience of the First Crusade. One primary text will be the Song of Roland, read in translation; others will be in Middle English and may include Chaucer's Knight's Tale, Sir Gawain and the Green Knight, the Sultan of Babylon, and other narratives, as well as manuals on the proper conduct of knights authored during the Middle Ages.

ENG 364: Vision/Revision
Dr. Austin Busch

Vision/Revision will study two ancient works of literature—the story of King David from the Hebrew Bible and the Medea of Euripides. In addition to engaging with these fascinating and important literary works on their own terms, we will explore how later writings have revised them, including early modern Spanish dramas, modern novels by Toni Morrison, William Faulkner, and Ludmila Ulitskaya, a narrative poem by Robinson Jeffers, and more.

Dr. Sharon Lubkemann Allen

In this seminar, we explore visionary/revisionary non-fictional & fictional prose, poetry, film, photography, painting and sculpture by women working across cultures as well as across discourses and disciplines throughout the 20th & 21st centuries, critically and creatively reconfiguring cultural memory, reframing geo-political divides, reorienting cultural discourse, redefining genre and gender, chronicling everyday life in the context of devastating socio-political disruption, disorienting interpersonal crises and geo-cultural displacement. Our reading of "memoir" extends beyond conventionally demarked non-fictional literary forms, to encompass fictional memoir, "documentary bordering on fiction", lyrical poetry and poetry of witness, as well as a range of memoried (often deconstructively commemorative) painting, sculpture, and mixed media works (self-portraits, maps).
Focusing first on Slavic women's writing—considering dimensions and dynamics of memory in the poetry of Anna Akhmatova, Marina Tsvetaeva, and Liudmila Schwarts, then cross-examining essays, stories, and novels by Tatiana Tolstaya, Liudmila Petrushevskaya, Liudmila Ulitskaya and Svetlana Alexievich—we extend our gaze to encompass contemporary women's representation of cultural memory in varied visual as well as verbal genres across the globe. We consider works by Slavic Jewish Brazilian writers, artists, and filmmakers, including Clarice Lispector, Fayga Ostrower, and Sandra Kogut, then turn to women crossing disparate geo-cultural borders, re-mapping distant Luso- and Franco-African and other transcultural contexts, yet redefining genre and gender in ways that draw them close: Maria Helena Vieira da Silva, Adriana Varejão, Paula Rego, Lídia Jorge, Marjane Satrapi, Nina Bouraoui.
While our cultural purview broadens, we focus our critical inquiry through increasingly layered lenses of literary and cultural theory. We investigate how this remembering may reflect diverse cosmopolitan post-modern, post-colonial consciousness, cultivating polyphonic poetic and political discourse, fostering dialogue and understanding across difference both within and beyond borders. While looking for common ground, we ask how these works (cor)respond to particular cultural and generic contexts, cross discrete literal and literary, geographical and generic boundaries, reconfigure personal as well as cultural memory, and confront crises in the present by remembering different moments and discourses, dimensions and dynamics in the past. We individually hone in on particular aspects of these works that interest and confound each of us and collaboratively try to better understand its methods, motifs, implications and import, through inquiry informed by contemporary literary and cultural theory and engaged in dialogue with current critical scholarship.

ENG 374: Renaissance Drama
Dr. Michael Slater
"Unsex me here," Lady Macbeth demands in one of her most haunting speeches, "Come to my woman's breasts and take my milk for gall." Against her corresponding accusation that her husband is "too full of the milk of human kindness" to seize their mutual interests (a not particularly subtle challenge to masculinity), Macbeth insists that he "dare[s] do all that may become a man; who dares do more is none." The tragedy, among Shakespeare's most famous plays, unquestionably presents a rich portrait of the gender categories that structured early modern patriarchy—interrogating, even as it sometimes reinforces, what it means to be a "man" or what it means to be a "woman" given the social conventions of the time. Taking our cue from Lady Macbeth, who suggests sex and/or gender might be shed like clothing, this course will probe a range of plays to uncover both dominant and subversive attitudes toward gender and sexuality in early modernity. We will be particularly attuned to the idea that gender is something to be performed, tracing that performance through a host of cultural artifacts from the late-sixteenth and seventeenth centuries. In addition to historical and theoretical texts by Judith Butler and Michel Foucault (among others), readings will include plays by William Shakespeare, Christopher Marlowe, Elizabeth Cary, John Fletcher, Thomas Middleton, William Rowley, Thomas Dekker, and John Ford.

ENG 376.01 British Novel II: The Historical Novel
Dr. Alicia Kerfoot

This course features British historical novels from the twentieth and twenty-first centuries. In addition, our focus will be on the ways that these historical fictions challenge the boundaries between what we consider "history" and what we consider "fiction" in order to recover, translate, and reimagine the past. Questions of gender and sexuality will also be at the forefront of our analysis, since all of the novels we'll read tell stories about the relationship between time, space, and gender identity in order to question the ways that history defines selfhood. Thus, these are stories about androgynous, ambiguously-gendered, queer, and malleable characters in historical moments (such as the eighteenth and nineteenth centuries) we usually associate with the construction of gender binaries. In fact, the hybridity and not-easily defined boundaries of the historical novel genre (which includes elements of romance, gothic, crime, and biographical fictions) perhaps lends itself to the complex narratives of identity that we will see in many of these novels.

ENG 384 American Humor (A). Examines authors, issues, and/or topics in early (pre-1900) American literature. Develops students' ability to relate literary texts to theoretical, historical, biographical, or other context. Content varies, with appropriate subtitles for each individual course. May be repeated for credit with significant change in topic and content. 3 Cr.

English 396.01 Children's LIterature
Children's Literature: Protest and the Child
Dr. Kristen Proehl
With texts ranging from "Little Red Riding Hood" to Dr. Seuss's The Lorax, this course offers an extensive survey of children's literature and its social, literary, and historical contexts. Synthesizing secondary readings in critical race studies, postcolonial theory, feminist and queer studies, and the history of childhood, we will focus principally upon understanding the relationship between children's literature and social change. We will ask the following questions, among others: How and why has children's literature so often served as a medium for social criticism? How is protest portrayed in children's literature? How have children's authors and illustrators invoked the figure of the "innocent child" to advocate for social justice? When and how does children's literature critique social hierarchies of race, gender, and class? What makes a children's book controversial? Our readings may include J.M. Barrie's Peter Pan, Ai-Ling Louie's Yeh Shen, Frances Hodgson Burnett's The Secret Garden, Ezra Jack Keats's The Snowy Day, Maurice Sendak's Where the Wild Things Are, the Harry Potter series, Jacqueline Woodson's Feathers, Louise Erdrich's The Birchbark House, and many others. Through writing assignments, class discussions, historical research, and close analysis exercises, this course will also further enhance your critical reading, writing, and communication skills.

ENG 388 American South Texts and Contexts Topics in Late American Literature (A). Examines authors, issues, and/or topics in late (post-1900) American literature. Develops students' ability to relate literary texts to theoretical, historical, biographical, or other context. Content varies, with appropriate subtitles for each individual course. May be repeated for credit with significant change in topic and content. 3 Cr.

396.61 Children's Literature: And the Award Goes to... (fully online course)
Dr. Megan Norcia
The world of children's book awards is longstanding and competitive. This semester we will be working our way through the Newbery award winners (an award established in the 1920s), the Coretta Scott King award winners (an award established in the 1970s), the Pura Belpré award winners (an award established in the 1990s), and the Stonewall Book Award (established for children's texts in the recent 2000s). We will review how the awards, their criteria, and their winners reflect changing social norms, cultural values, attitudes about childhood and what children should read. Since this is an online class, students will have the opportunity to engage in independent projects and "presentations," and to select some of the course readings from the pool of award winners. The goals of this course are to increase students' familiarity with the rich history of children's literature, to help readers gain an understanding of "childhood" as an eighteenth-century construct, and to study the ways in which this construct has been amended, altered, and revised in a contemporary context. Through the writing of online Discussion Board posts, discussion of picture books, and formal writing assignments, students will develop a facility for thinking and writing about seemingly simple literature, and will craft detailed arguments supported by textual evidence.
**This course will be conducted entirely online with no synchronous meetings.

ENG 397.01 and 397.02 Young Adult Literature
Youth Rebellions: Coming of Age in a Diverse World
Dr. Kristen Proehl
This course will examine the key themes, issues, and conventions of young adult literature, with a special focus on the intersections of adolescent rebellion, conformity, and social justice. Covering texts ranging from Louisa May Alcott's Little Women (1868) to Marjane Satrapi's Persepolis (2000), we will explore the dynamics of the coming-of-age narrative and texts that establish, interrogate, and disrupt its conventions. Some of our key discussion topics will include censorship, pedagogy, social criticism, and the intersections of race, gender, class, and sexuality in YA literature. We will learn how authors have repeatedly turned to representations of adolescence to comment on issues of social justice and advocate for change. Through group presentations, essay assignments, on-line discussion forums, and writing exercises, this course will further develop your critical reading, writing, research, and communication skills. You will also have the opportunity to play an active role in formulating our class discussion topics each week.
As we explore a diverse array of genres, including plays, epistolary texts, and graphic novels, among others, we will consider texts that are often assigned at the middle- and high- school levels, as well as literature marketed to young adults. We will study, interrogate, and develop our own definitions of key terms, such as "adolescence," "YA literature," "fantasy," "bildungsroman," among others. By the end of the semester, you will have developed a nuanced understanding of the relationship between literature and the historical construction of adolescence. Possible texts may include Sherman Alexie's The Absolutely True Diary of a Part-Time Indian, John Knowles's A Separate Peace, Jacqueline Woodson's Hush, the Harry Potter series, Sandra Cisneros's The House on Mango Street, Thanhha Lai's Inside Out and Back Again, and others.

Dr. Sharon Lubkemann Allen

This seminar examines postmodernism in world literature and theory, focusing on writing that explores cultural margins and veers into the margins of the text. We consider how reflexive, reflective, refractive, and refractory writing revises both story and history, re-casts and relocates cultural discourse and cultural memory, reconstructs identity, represents the relation between self and other, and provokes response and responsibility in the reader. Tracing rather treacherously shifting textual boundaries, we consider the ethics and aesthetics of post-modern border crossings, borrowing, and bricolage. Considering postmodernist texts in terms of cosmopolitanism and globalization, we reconsider claims concerning dialogue and dialogism, digression, deviance, dissent, dissembling, deterritorialization, the death of the author, and creativity.
In our investigation of postmodern literature and theory, we consider both contemporary theories of the novel and post-modernist novels' self-conscious play with theory. That is, our discussions draw on discrete ways in which writers ranging from Pessoa, Nabokov, Borges, and Lispector to Lins, Saramago, Petrushevskaia, and Agualusa implicitly and/or explicitly critique of theories of the novel. Theirs are peculiarly reflexive fictions, concerned with their own making and interpretation, questioning and openly revising subtexts, making transparent their play with literary conventions, investigating their relation to socio-political, economic, and other cultural contexts and discourses, etc. Thus, they offer us fictional test cases and critiques for formalist, structuralist, semiotic, neo-Marxist, cultural or new historical, feminist, and other post-modern theories of the novel.
Our comparative investigation of fictional narratives is informed by our study of literary, critical, and theoretical essays. It is further contextualized and developed through comparative investigation of films, fine arts, and other cultural texts.

Dr. Miriam Burstein
This course offers an advanced introduction to poetry published between approximately 1832-1901, with a strong focus on one of the Victorian period's most important innovations in poetic genre—the dramatic monologue. Students will be introduced both to familiar authors of the period—Tennyson, the Brownings, Arnold, Hopkins, the Rossettis, Swinburne—and to now less-familiar authors whose work was nevertheless celebrated at the time, including George Meredith and Augusta Webster. Because of the focus on dramatic monologue, the course will emphasize constructions of poetic voice and subjectivity—what sort of "I" do these works create? To what extent is this "I" imagined in a specific historical moment? As part of the course's remit, students will be introduced (or will have the chance to review, depending on their background) to scansion and poetic form. Two papers; exams; quizzes; oral presentation.

ENG 472: Twenty-First Century Novels
Dr. Alissa Karl

What exactly is a "Twenty-First Century Novel"? What does it look like, and does it substantially differ from its twentieth-century predecessors? This capstone course inquires into what's distinctive about very recent novels—either formally, or in terms of the worlds they emerge from. We'll read formal tendencies and developments in a sampling of very recent novels published in English to think about how the novel as a genre responds to the particularities and conflicts of our world system, including the pressures and tendencies of neoliberal and "global" economies and increasing inequality worldwide. We'll think about how some of the persistent features of novelistic narrative--including character, temporality, (anti)realism—are being configured for the new conditions in which we live, work, and experience ourselves as subjects. In so doing, we'll encounter the most recent critical and theoretical perspectives on the novel as a genre, and on the particular novels that we read. Texts will likely include works by Joseph O'Neill, Tom McCarthy, Ali Smith, Rachel Cusk, Paul Beatty and Teju Cole.

Students should expect to: write a substantial 15-18 page literary critical essay that involves scholarly research; read and synthesize a number of scholarly articles and reviews; and make a research presentation to the class.

ENG 473 Linguistics for Second Language Acquisition (A). Contrastive analysis of the language components of English, French and Spanish; phonetics and phonology, morphology, syntax, lexicon, and semantics. Examines sociolinguistic and psycholinguistic perspectives related to the role of language in culture, identity and learning. Explores languages acquisition theories, and their application to bilingualism and the teaching of English to speakers of other languages. 3 Cr.

ENG 478.01 History of English
Dr. Stefan Jurasinski

Have you ever wondered why English has so many silent consonants? Why the plural of mouse is mice and not mouses? Why you're not allowed to use "double negatives"? Have you ever wondered what Shakespeare's plays really sounded like when first performed? We'll explore these and other questions, acquainting ourselves along the way with the prehistory of English (French tu and English thou are, in fact related), its spectacular emergence during the Anglo-Saxon period (the era of Beowulf and other great poems), its suppression during the Norman Conquest, and its rebirth as a literary language in the fourteenth century. By the end of this class, you'll be a more informed user of your language with a broader sense of its rich and complex history.

483.01/583.01 Career Prep for English Majors
Dr. Megan Norcia

Ready to find out what you can do with an English major?
This course will guide English majors to prepare for careers that utilize the skills and abilities they have honed in their literature classes. Students will read articles and textbook excerpts about English and humanities graduates, and hear advice from guest speakers and alums in fields relying on written and oral communication. Students will practice writing, revising, and editing job application materials including cover letters, résumés, a Linked In profile, producing as well a reflective process paper outlining and explaining their choices in crafting these materials. Students will also begin researching dream job companies, practice applying for internships and networking at the Jobs & Internships Fair and on the inaugural Internship Day at the College. In the process, they will polish grammar, mechanics, and editing, as well as working on their interview and presentation skills: students will participate in a poster session showcasing their research on potential English major careers, and we will invite other majors to benefit from their expertise. The course is well suited for sophomores and juniors looking for internships and scholarships, as well as seniors and graduate students preparing for non-academic careers.

ENG 491.01, Advanced Fiction Workshop
Dr. James Whorton
This is an advanced course in fiction writing. We will study short stories by a variety of writers, and each student will write two short stories to be discussed in the workshop and one book review. Written critiques will be due before every meeting, and revised stories will be due at the end of the semester. Prerequisites: ENG 305 (Poetry Workshop) and ENG 304 or 306 (Fiction or Nonfiction Workshop). Students in the creative writing concentration have first call for this class, so please email jwhorton@brockport.edu for permission to register.

Required text: Strunk and White. The Elements of Style. 4th ed. Allyn & Bacon, 1999. ISBN 0-205-31342-6

ENG 492: Advanced Poetry Workshop
Dr. Ralph Black

This workshop is designed to further the study and practice of poetry. The bulk of our class time will focus on critiquing and honing poems submitted by workshop participants. Such workshops will invariably lead to broader discussions of the craft of poetry. The remainder of the time will be spent discussing (and writing about) various assigned readings—collections of poetry, craft-related essays written by poets, criticism, etc. We will explore prescribed and open forms, the lyric poem, the prose poem, narrative and experimental styles, and the art of revision. Assignments will include: weekly poems, a substantial critical essay, poetry recitations, final portfolio. Both ENG 210 and ENG 305 are prerequisites for this course.

ENG 495/595 The Writer's Craft (A)
Dr. Anne Panning
Allows students to meet with the directors of the Writers Forum and guest artists and critics to discuss contemporary literature and the creative writing process. Contact the department for names of guests set to appear in the semester and other details. May be repeated for credit. 3 Cr. Every Semester.

Film Course Descriptions

FLM 250 Film History Part 1- Origins to 1945 (A,D,F). Traces the evolution of cinema from its origins in the 19th century through the silent era, into the Golden Age of sound cinema. Examines the major films and movements in the development of film as a global, cross-cultural art form and industry. By situating cinema historically, investigates how different cultures imagine themselves within diverse social, historical, and ideological contexts with an emphasis on aesthetics. 3 Cr. Every Semester.

FLM 251 Film History Part 2- 1945 to Present (A,D,F). Traces the evolution of cinema from WWII until the present-day "blockbuster era." Examines the major films and movements in the cross-cultural evolution of film since the emergence of the "international art cinema" in the 1950s and the new Cinemas of the 1960s. Investigates how different cultures imagine themselves within diverse social, historical, and ideological contexts as film culture becomes increasingly globalized in the latter half of the twentieth century. 3 Cr. Every Semester.

FLM 301 Film Theory and Criticism
Dr. Carter Soles
From its inception in the late 1890s through the current impacts of digital technology, film as a medium has always been subject to intense scrutiny and inquiry regarding its meanings, aesthetics, and social effects. This course offers an overview of many of these debates, examining how film scholars and cultural critics have approached the interpretation of film (and other popular media). This class will introduce you to the key terms, ideas, and discourses within the theory and criticism of film, training you to use a set of interpretative tools and analytical frameworks not only for your future academic study of film but for your everyday consumption of film and other visual media. We will pay particular attention to the application of theory and criticism: how do you take the broad ideas of theory and use them in your own interpretations? How do you take the specific interpretations of criticism and develop a broader argument that can be applied to other texts? To that end, we will examine both historically significant films as well as more contemporary films in our examination of visual media and its ideological meaning(s).

FLM 457 Women and Film
Dr. Carter Soles
This class explores the relationship between women, cinematic representation, film production, pleasure, and power. We will investigate the complex representation of women in mainstream Hollywood cinema, independent and experimental cinema, and selected international cinemas. The course will primarily emphasize films made by women filmmakers, asking questions about a possible feminist aesthetic and how/why/if films made by women address women's issues within the patriarchal global film industry. We will explore issues of female stars and celebrities, as well as the role of women as spectators and consumers of commercial media. Throughout, we will use the debates surrounding second-wave feminism and "post-feminism" to frame our examination of women's relationship to cinema, analyzing the complex ideological negotiations at play as gender relations continually adapt to shifting cultural and social circumstances.

FLM 490 Film Comedy
Dr. Carter Soles
Comedy has been an integral part of the cinematic medium since its inception; one of the earliest of the Lumiere actualities, "The Sprinkler Sprinkled" (1895), was structured as a comedy. What makes visual comedy funny? What theories and historical precedents of theatrical comedy do film comedies and comedic genres draw upon? How does cinematic comedy carry forward the European tradition of the carnivalesque and the grotesque as documented by Mikhail Bakhtin in Rabelais and his World? This course surveys the history and theory of film comedy from its inception to the present day, examining how previous traditions informed cinematic comedy and looking at developments unique to the filmic medium. Particular areas to be studied include silent comedy and slapstick, the romantic comedy, the gross-out comedy, the buddy film, black comedy, comedy's relationship to horror, stand-up comedy and social transgression, and the comedic genres of satire, parody, and mockumentary. We will approach these topics via readings, film viewings, and class discussion.

Graduate Course Descriptions

ENG 603: Seminar in Creative Writing
Dr. Ralph Black

This seminar is designed to challenge, inspire, and feed the work of graduate students working on (or toward) their M.A. thesis projects. This particular course focuses on hybrid forms—works that mix prose and poetry, literary and visual imagery, or books that "echo" or evoke other books. I'm particularly interested in ideas of artistic innovation—what writers do (or have done) to reinvent the art form. Ezra Pound put it this way: "The artist is always beginning. Any work of art which is not a beginning, an invention, a discovery is of little worth." We will read works of fiction, nonfiction, and poetry that have had (or might yet have) a significant impact on the art. We'll read modernist classics like William Carlos Williams' Spring and All and Jean Toomer's Cane, as well as books by W.G. Sebald, Kimiko Hahn, C.D. Wright, and M. NourbeSe Philip. We'll consider such craft-related matters as voice, form, technique, and structure. Course work will culminate in a substantial creative/critical project.

Dr. Miriam Burstein

The "Victorians," as many knew them in the twentieth century—repressed and hypocritical—were largely an invention of the Modernist authors who sought to reject, undermine, or replace the literary, cultural, and political legacies they inherited from the previous century. In turn, though, many writers from the mid-twentieth century to the present day have reinvented the Victorian era in order to think through problems of the present, both political and aesthetic. Scholars have grouped such texts together under the term "neo-Victorianism"—a return to the Victorians that nevertheless regards the period with a critical gaze. This course explores some of the key neo-Victorian texts, beginning with John Fowles' The French Lieutenant's Woman (1969). In particular, we will examine this literary movement's attraction to sensationalist and Gothic modes—the Victorian "underworld," secret horrors with the home, and the like--especially as they play out across a wide range of narrative forms.
This course does not assume that students have previously studied Victorian fiction in any depth, although acquaintance with at least one or two major novels would be ideal (e.g., Jane Eyre or Great Expectations). Students should have read through ch. 26 of The French Lieutenant's Woman prior to the first class. Prospectus; annotated bibliography; research project; oral presentations.

ENG 633 Morrison and Beauty -- Studies in American Literature Since 1870 (A). Covers selected advanced topics in American Literature since 1870. Provides intensive study of specific topics that will vary by course. May be organized around particular literary figures, movements, or issues. 3 Cr.

ENG 682 Seminar in Children's Literature (A). Explores literature written for children and evolving representations of the child, childhood, and/or child-rearing in texts written from the eighteenth- to the present. Course may include a focus on the "Golden Age" of children's literature (1865-WWI), representative genres, themes in children's literature, and extensive discussion of critical and theoretical resources in the field applied to picture books, poems, or novels. 3 Cr. Spring.

ENG 692: Graduate Poetry Workshop
Dr. Ralph Black

ENG 692 is a poetry writing (and reading) workshop, designed for graduate students working on their creative theses, but open to all graduate students who are serious about their work as writers. My assumption is that students will have experience and training in creative writing (in and out of the classroom), are conversant with the elements of craft, and are eager to devote themselves to the rigorous study and practice that all good writing demands. We will read a lot, write a lot, experiment and challenge each other to test new aesthetic / artistic waters. We will explore prescribed and open forms, the lyric poem, the prose poem, narrative and experimental styles, and the art of revision. Class time will be divided between the workshop itself (about 2/3 of our time), where discussion will focus on poems submitted by workshop participants; and discussion of (and presentations on) assigned reading (1/3 of class time). Students will submit their work for honest, constructive critique in the workshop.

ENG 697 Advanced Project in Literature (A). Allows students to complete their final project for the MA in Literature, supervised by the Director of Graduate students and an additional reader. The project will consist of revising and enhancing a paper previously submitted in ENG 690 Advanced Writing. Successful completion of the project will include an oral defense. 3 Cr. Every Semester.

Last Updated 10/31/17

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