Fall 2014 Course Descriptions

CINEMA & SCREEN STUDIES


CSS 235 - INTRODUCTION TO CINEMA PRODUCTION Adams, Josh
TR 9:35-10:55
CSS 235 is an introductory production course focused on digital video/film production. You will learn how to successfully take a short screenplay and transform it into moving images using the Classical Narrative Paradigm (a beginning, middle and an end, or, Act I, Act II, Act III). You will learn how to attract an audience, and affect them emotionally, using tension and release. The class will utilize the three-tier studio model of pre-production, production and post-production, along with a "green-light" process for their final project. You will learn the importance of storyboarding, scripting, casting, scheduling and budgeting. Students will acquire an understanding of and practical experience with basic video production techniques through hands-on practice, class discussions, lectures, assignments and readings. Production techniques include: pre-production, camera, lighting, audio techniques, set-up and execution of on-location/set production as well as film production and post crew positions and responsibilities.

CSS 235 - INTRODUCTION TO CINEMA PRODUCTION Dodd
TR 2:20-3:40
CSS 235 is an introductory production course focused on digital video/ film production. You will learn how to successfully take a short screenplay and transform it into moving images using the Classical Narrative Paradigm (a beginning, middle and an end, or, Act I, Act II, Act III). You will learn how to attract an audience, and affect them emotionally, using tension and release. The class will utilize the three-tier studio model of pre-production, production and post-production, along with a "green-light" process for their final project. You will learn the importance of storyboarding, scripting, casting, scheduling and budgeting. Students will acquire an understanding of and practical experience with basic video production techniques through hands-on practice, class discussions, lectures, assignments and readings. Production techniques include: pre-production, camera, lighting, audio techniques, set-up and execution of on-location/set production as well as film production and post-crew positions and responsibilities.

CSS 335 - INTERMEDIATE CINEMA PRODUCTION Adams, Josh
M 6:00-9:00 - or - W 3:00-6:00
CSS 335 is an intermediate production course focused on digital video/ film production. It is designed to lead you towards effectively telling an engaging narrative story in a small amount of time through visual, aural and emotional methods. You will learn how to successfully take a short screenplay and transform it into a moving picture using the Classical Narrative Paradigm. You will learn how to attract an audience, and affect them emotionally, using conflict, action, tension and release. The class will utilize the three-tier studio model of preproduction, production and post-production, along with a "green-light"process for their final project. You will learn the importance of story-boarding, writing, casting, scheduling and budgeting, pertaining to industry standards.

CSS 360 - STUDIES IN NATIONAL CINEMAS Schaber
W 6:15-8:45
W 3:00-5:00
"After Independence: Film, the Arts and Politics in Algeria, Morocco and Tunisia"
The complex events we call the Arab Spring have their origins in North Africa. These events call upon students and scholars to make sense of histories that now require re-interpretation and of a present giving birth to remarkable cultural, social and political changes. This course is an exploration of North African cultural practices (art, film, literature, music) and their connections to wider social and political movements from both national and global perspectives, from the post-independence period (around 1960) to the present. The course is organized around three major historical periods of the Maghreb (Algeria, Morocco, Tunisia): 1. Post-independence (Nationalism, Pan-Arabism, Cold War, Arab-Israeli conflict); 2. Globalization (economic and demographic flux, Islamism); 3. The Arab Spring (democracy, national revival). How have Maghrebi artists, musicians, writers and filmmakers-both those in North Africa and those dispersed across Africa, the Middle East, Europe, and the Americas--created forms appropriate to and commensurate with these wider social, political and historical periods? Course includes Skype sessions with scholars and students in N. Africa, collaborative archival project, and the production of a video essay. Satisfies GE World Awareness--Humanities. Required texts: tba (but I'll keep costs low!). (Crosslisted with ENG 360)

CSS 391 - FILM PRACTICUM Adams, Josh
W 6:10-9:00
Film Practicum is an intensive, cerebral and physical exercise in the various approaches to filmmaking and videography. This course takes both institutional and experimental paths, utilizing concepts and brief outlines to the summation of cinematic, self, and societal discovery.
Students will work on up to EIGHT projects during the semester, often more than one at any one time, to learn the fast-paced and frenzied world of deadlines, mixed with an ambiguity of their own creative work-flow to find the end result of each piece.

CSS 395 - Special Topics: Cinematography Dodd
W 3:00-6:00
Students will research and engage in the art of cinematography through hands on workshops and collaborative seminars designed to enhance their creative use of light, shadow, movement, color, shot duration, and composition. The role of the director of photography will be explored in-depth beginning from collaboration with the director through camera selection to final execution and color correction. Emphasis will be placed on preparation for fictional narrative and documentary productions. The student will develop artistic strategies and crew managerial skills that shape motion picture aesthetics and utilize the full fidelity of motion picture imaging formats. All available cinema camera systems will be stressed including: Super 8mm, Ultra 16mm Arriflex SR, and DSLR HD Video. The creative options of the 16mm and DSLR prime lens packages will be fully highlighted in the course. Students will execute film emulsion tests, lens tests, lighting demonstrations, and complete dramatic scenes focused on building an argument for their chosen stylistic approach. The semester will conclude with each student completing a short film in which they are the sole director of photography on a peer production.

CREATIVE WRITING


CRW 201 - SCREENWRITING: INTRODUCTORY Giglio
MWF 9:10-10:05 - or - 11:30-12:25
This introductory course explores the screenwriting genre as it applies to a visual medium. Students will engage in writing exercises to learn the elements of story, character development, structure, scene study and dialogue. Students will also analyze professional screenplays, learn to pitch and write their own short film script. No prerequisite.

CRW 205 - POETRY WRITING: INTRODUCTORY Itzin
MWF 8:00-8:55
CRW 205 is an introductory course in the fine art of reading and writing poetry, with an emphasis on the latter. Since reading and writing poetry are reciprocal activities, students will read a variety of poetry voices and styles with a critical eye on "how" and "how well" they are written and how this can be used in their own writing. The course will discuss ideas for generating poems, the vocabulary to discuss them in a workshop setting, and revision techniques.

CRW 205 - POETRY WRITING: INTRODUCTORY Donnelly
TR 9:35-10:55
Poet Naomi Shihab Nye writes, "Poetry is a conversation with the world; poetry is a conversation with the words on the page in which you allow those words to speak back to you; and poetry is a conversation with yourself." In CRW 205, students engage with this conversation while exploring the building blocks of poetry - image, metaphor, diction, voice, line, form, sound, and revision. Class includes some craft lecture, but focuses primarily on discussion of contemporary poets and student work. No previous experience with poetry is necessary.

CRW 205 - POETRY WRITING: INTRODUCTORY Pritchard
MWF 9:10-10:05
Mark Strand wrote, "There is no happiness like mine. I have been eating poetry." In creative writing, reading a lot and writing a lot are essential in order to produce good work. In this introductory writing course, we will do just that. We will analyze mostly contemporary poets who use a variety of different writing styles in their poems as well as writing our own poems, practicing techniques on paper and in a workshop setting.

CRW 206 - FICTION WRITING: INTRODUCTORY Wilson
MWF 9:10-10:05
Toni Morrison wrote: "If there's a book you really want to read, but it hasn't been written yet, then you must write it." You can get started in this beginning fiction writing workshop. You'll be reading contemporary short stories and writing exercises using a variety of fiction techniques. In the latter half of the semester everyone will produce a full-length story, which will be discussed by the entire class. You'll be giving written critiques of everyone's stories and this will help you form a critical aesthetic in the genre.

CRW 206 - FICTION WRITING: INTRODUCTORY Motto
TR 9:35-10:55, 11:10-12:30
In this fiction writing course, students will read and critique each other's work, as well as the work of established authors. Students should expect daily exercises, quizzes, class discussion, one story and one re-write. This introductory course is designed for students who are non-writing majors. This course is linked to Angel.

CRW 207 - PLAYWRITING: INTRODUCTORY Knight
MWF 9:10-10:05 - or - 10:20-11:15
We will read, write, watch, create, act, and produce in this interactive playwriting class! Together, we will examine short plays for their plot structure, dramatic action, conflict, character, dialogue, spectacle, and theme. Writing exercises are designed to spark the writing, to find a structure for stories, to deepen the dramatic principles listed above, and heighten theatricality. In class we will workshop each other's scripts, reading scenes in small groups and as a class and bringing the scenes to life. By the end of the class, all students will have completed a 15 min Play and be an integral part of all levels of production of The One-Min Play Festival.

CRW 207 - PLAYWRITING: INTRODUCTORY Korbesmeyer
MWF 12:40-1:35
This introductory course in playwriting uses a wide variety of techniques, exercises and organizational concepts to explore the particular challenges and rewards of this genre. Existing theatrical literature will be evaluated and discussed (in addition to our own work), culminating in a ten‐page play.

CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION Halferty
TR 11:10-12:30
This course introduces students to various modes of nonfiction writing, helps them analyze and evaluate literature in the genre, and provides an environment in which they develop writing in nonfiction modes.

CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION Steiner
TR 11:10-12:30 - or - 12:45-2:05
CRW 208 is an introductory workshop in nonfiction. Students read and discuss the work of established writers and become familiar with creative writing skills such as crafting scenes, using dialogue effectively, and building strong characters and themes. They complete weekly exercises and write two essays. Students improve writing skills, share constructive criticism in a workshop setting, begin to build a critical vocabulary and become familiar with the genre of nonfiction.

CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION Allocco
MW 4:30-5:50
CRW 208 is an introductory workshop in nonfiction. Students will read and discuss the work of established writers and will become familiar with creative writing skills such as crafting scenes, using dialogue effectively, and building strong characters and themes. They will complete short exercises and write a full-length essay. Students will improve their writing skills, share constructive criticism in a workshop setting, begin to build a critical vocabulary and become familiar with the genre of nonfiction.

CRW 250 - WRITING INTO CULTURE O'Connor
ONLINE
A study of a non-Western civilization by intensively examining the history, institutions, economy, and society surrounding a popular genre created by that culture. Besides critically examining the cultural issues of that society, students will create an original work using the aesthetic principles of that popular genre. This particular course will examine the writing of Japanese mysteries. These mysteries reconceived the "Golden Age" mysteries of Agatha Christie, Ellery Queen and John Dickson Carr into "The New Traditionalist" mysteries of Japan. You will read Japanese mysteries, reflect on Japanese culture, and employ the techniques of mystery writing to write your own short story in the "New Traditionalist" style. Prerequisite: Eng 102 or instructor permission. Satisfies the General Education World Awareness - Fine Arts requirement.

CRW 300 - LIVING WRITERS SERIES Steiner
MW 3:00-4:20
This large-lecture course explores the creative process via a series of talks presented by writers across the genres and may include other members of the writing community (editors, librarians, publishers). Students develop their own values and aesthetics, and articulate them through exercises and assignments; participants become acquainted with the challenges, practices, and rewards of "the writing life." Open to all Oswego State students.

CRW 301 - SCREENWRITING: INTERMEDIATE Adams, Jamie
MWF 12:40-1:35 - or - 1:50-2:45
Intermediate screenwriting will allow students to analyze films, screenplays and lectures to continue the structural outcome of the feature-length screenplay, which they started in CRW 201, or an entirely new script of their choosing. Workshops in class with groups as well as those led by the instructor will help students navigate through the structure, format and style of a feature-length film script. Exercises, reading scripts as well as written and oral critical responses/ critiques of classmates' work will be required. Prerequisite: CRW 201 Screenwriting: Introductory

CRW 305 - POETRY WRITING: INTERMEDIATE Donnelly
TR 12:45-2:05 - or - 3:55-5:15
The core of CRW 305 is the writing workshop, featuring poems by each student. In addition to extensive writing, revising, and critiquing, students read and discuss several single-author collections of poetry and selected craft essays that encourage experimentation with a variety of poetic styles. We'll also continue to consider what it means to be a literary citizen, both within and beyond the classroom. A final portfolio of revised poetry will be required.

CRW 306 - FICTION WRITING: INTERMEDIATE O'Connor
TR 12:45-2:05 - or - 2:20-3:40
This course is an intensive workshop in fiction writing in which you will examine student stories as well as stories from The Best American Short Stories. Students will develop and discuss their aesthetic principles. Requirements: 3 stories or sections of a novel, story responses, self-assessment paper, and use of Angel. Prerequisite: CRW 206.

CRW 307 - PLAYWRITING: INTERMEDIATE Knight
MWF 11:30-12:25
Students will employ techniques from the beginning course while learning to take conscious risks in their writing. We will look at breaking open the form and actively investigate elements of playwriting with an eye toward distilling and manifesting each writer's intention. We will cover a range of new and classic plays to build the students' story-telling toolkits and strengthen performance analysis and critical response. In class we will workshop each other's scripts, reading scenes in small groups and as a class and bringing the scenes to life. By the end of the class, all students will have completed a One-Act Play (at least 30 pages of material).

CRW 308 - CREATIVE NONFICTION WRITING: INTERMEDIATE Loomis
TR 11:10-12:30
CRW 308 is an intermediate nonfiction workshop. Students will read and discuss creative nonfiction by established writers, write their own essays, and critique the work of their peers. Students will conduct various forms of research to establish mastery over chosen subject matter. They will investigate technical and aesthetic aspects of the genre, and ponder ethical questions, such as "what is truth?" and "do I have a right to use other people's stories as my own?" One full-length essay as well as several short pieces will be required. CRW 208 is a prerequisite.

CRW 308 - CREATIVE NONFICTION WRITING: INTERMEDIATE Allocco
W 6:00-8:45
CRW 308 is an intermediate nonfiction workshop. Students will read and discuss creative nonfiction by established writers, write their own essays, and critique the work of their peers. Students will conduct various forms of research to establish mastery over chosen subject matter. They will investigate technical and aesthetic aspects of the genre, and ponder ethical questions, such as "what is truth?" and "do I have a right to use other people's stories as my own?" One full-length essay as well as several short pieces will be required. CRW 208 is a prerequisite.

CRW 401 - SCREENWRITING ADVANCED Giglio
MWF 1:50-2:45
Writers need deadlines. I personally know this to be true. This course will require that you write a complete feature screenplay. This process will be facilitated by lectures, in class assignments, and small and large group workshops. You will pitch ideas, break your story into a beat sheet, get immersed in character development and finally write a feature screenplay. In addition, we'll have discussions about working in the Hollywood "industry" and you will learn to write script coverage. Prerequisite: CRW 301 and by permission of the instructor.

CRW 406 - FICTION WRITING: ADVANCED FLASH FICTION Wilson
MWF 11:30-12:25
It takes skill to compress the universe of a story or tale into less than a thousand words. Flash fiction must deliver an impact and ramify in subtext while paying attention to economies of scale. In this class we'll be writing almost a dozen different flash fictions, and we'll be reading widely in contemporary flash fiction. The course will require you to write a flash every week. You will be expected to make group presentations and organize a final portfolio of your best work. CRW 306 is a preprequisite.

LITERARY STUDIES


ENG 101 - COMPOSITION I All Sections
Review of fundamentals of writing for students with problems in writing skills so that they may continue successfully in ENG 102.

ENG 102 - COMPOSITION II All Sections
Practice in college level writing, includes preparation of a research paper.

ENG 104 - ADVANCED READING Staff
TR 6:30-7:50
This course is designed to improve and develop the reading ability of students with limited English proficiency as it relates to critically analyzing academic texts.

ENG 204 - WRITING ABOUT LITERATURE Jayawardane
TR 9:35-10:55
Exploration of our own language use through the lens of literature, and exploration of literary language from the perspective we create with our own uses of language. We will study narrative, verse, and drama and one or two additional novels and plays. Approximately six essays.

ENG 204 HONORS - WRITING ABOUT LITERATURE Cooper
TR 9:35-10:55
Student-critics will practice scholarly literary criticism by applying insights learned from several key critical texts to our analysis of language from three different literary texts: first we'll critique a longer poem (from the 1700s or 1800s), then a play (from the 1800s or 1900s), and finally a novel (from current times). Student literary critics will create individualized critical strategies that draw upon their own political concerns, while incorporating material from the three major branches of critical theory commonly practiced in the field of literary studies:
• Theories of form, which look at the text as an object that's been put together in a certain way. From a formal approach, we consider aspects such as genre, narrative structure and language.
• Theories of mind, which look at the way human thought and feeling are represented in the text, as well as how we with our own minds react to and relate to the texts we read. In this mode, we can consider psychoanalysis (sexual and emotional desire, the behavior of the unconscious), epistemology and cognition (the study of the processes whereby knowledge is attained, theories of how and why we know things).
• Theories of culture, which attend to the material conditions and social structures that influenced the creation of a literary work, and which are also represented by that literary work. Cultural theories examine how politics and power, gender, economics, religion, the natural environment, race and ethnicity, history, art and cultural forms affect human lives and relationships.
Course work consists of one short early paper, homework assignments that apply key concepts from a particular critical text to a close reading of language from the literary text, and a final research paper.


ENG 204 - WRITING ABOUT LITERATURE Coll
TR 2:20-3:40
Literature and the Sea. This introduction to the major will use texts that feature water-seas, rivers, lakes, the contents of fishtanks-to explore how the practice of analysis and criticism can channel, chart, divert, and/or ramify the meanings of literature. We will navigate our way through canonical watery texts such as Shakespeare's The Tempest, less canonical texts that include the seaside poetry and sailing adventure tales of the nineteenth century, and contemporary texts that challenge the very idea of a literary canon, as does Larissa Lai's epic Salt Fish Girl. Through this exploration of poetry, prose, and drama, you will develop a critical vocabulary, an understanding of theoretical framework, and a set of analytical strategies that will serve as a foundation for your literary studies to come. Your work in this class will include active discussion and participation, a number of short- and medium-length writing assignments, and a research-based analytical paper.

ENG 220 - MODERN CULTURE AND MEDIA [Text] Halferty
TR 9:35-10:55
Relying upon each student's familiarity with cultural forms (for example, in film, television, popular music and music videos, comic books, cartoons, advertisements, magazines, detective fiction, and romances), this course introduces students to the methods and interpretive strategies of literary studies.
ENG 220 - MODERN CULTURE AND MEDIA [Text] Coll
MWF 11:10-12:30
What do monsters mean? In this section of ENG 220, we will use the tools and techniques of literary analysis to investigate our twenty-first-century obsession with vampires, zombies, and other unhuman figures. Using Bram Stoker's Dracula (1897), Karel Čapek's R.U.R. (1920), Kazuo Ishiguro's Never Let Me Go (2005), and Daryl Gregory's Raising Stony Mayhall (2011) as anchor texts, we will analyze a variety of cultural forms that share an interest in constructing monstrous narratives. We will explore how traditionally humanist notions of embodiment, affect, and political subjectivity are questioned and complicated in stories about almost-humans. Your work in this class will include active discussion and participation, staying current with your reading assignments, completing several short writing assignments and tests, and producing a research-based analytical paper.

ENG 235 - American Literature to Civil War [Text] Guerra
TR 12:45-2:05
This course considers the formation of U.S. literature and culture by following a variety of major themes in the literary history of America, from its beginnings through the Civil War. These themes include both religious and secular attempts to represent a unique American mission and identity, a focus on individual reform and personal transcendence, and the issues that accompanied longstanding debates over the social role of women and non-whites in the era before the Civil War. In addition to exploring these themes, this course will also strengthen students' skills in close reading, argumentative writing, and analytical discussion-while also providing a richer perspective on the history that informs the contemporary United States.

ENG 237 - ETHNICITY & CULTURAL DIFFERENCES IN LITERATURE Holt-Fortin
TR 11:10-12:30
That America is a land of immigrants is hardly news. Until recently, we didn't study the literary response of those immigrants to their experiences in becoming Americans or even what it meant to be an American. In this class we examine how culture and difference expresses itself in literature since 1945. Specifically we look at the poetry and stories of Asian and Hispanic immigrants, Native Americans, African Americans, women and gay writers. We will read one comic and the experimental novel The Buddha in the Attic by Juile Otsuka.

ENG 265 - SOPHOMORE SEMINAR IN GENRE Staff
TR 8:00-9:20
An intensive introduction to the study of some of the conventions of literary genre, including genre theory. The course will undertake a comparative analysis of two specific genres, or kinds, of literary production's for example, lyric and ballad, pastoral and allegory, encomium (formalized poems of praise) and satire. The study will place examples within their historical contexts and within the history of the conventional genre. PREREQ: ENG 204 or instructor permission.

ENG 265 - SOPHOMORE SEMINAR IN GENRE Cooper
TR 11:10-12:30
Prose Genres and the Origins of the English Novel. We'll read two works of fiction from the early 1700s with a goal of understanding how the early English novel commented on, and sometimes parodied, earlier genres of prose writing, including the romance, the saint's life and the spiritual autobiography. Mostly, the early novels satirized romance, gender roles and the institution of marriage. Critical readings will discuss the predominant themes of social rank, wealth, violence, virtue, truth and the sexual double standard that permitted a man to have sex outside of marriage, while casting the woman out of society if she was caught doing the same thing. The focus will be on understanding how the form of the novel evolved as the aesthetical fulfillment of the ethical and intellectual needs of society. Coursework: close reading of passages from the novels, one short early paper, a presentation, homework assignments about the critical readings and a final research paper.

ENG 271 - PRACTICAL ENGLISH GRAMMAR Murphy, M.
MWF 10:20-11:15
Designed for students intending to teach, this course focuses on teaching grammar in the context of writing. A broad review of parts of speech, the syntax of complex sentences, and the conventions of standard usage will be supplemented by attention to the relation between standard and non-standard dialects, as well as to dealing with dialect difference in the classroom and in written work. Graded work includes exams, tutoring, teaching a mini-lesson, and the maintenance of a journal of observed usages.

ENG 286 - INTRODUCTION TO CINEMA & SCREEN STUDIES Shore
MWF 10:20-11:15
M 6:15-8:45 Lab
A critical introduction to the analysis, theory and history of moving images, from nineteenth-century investigations of afterimages and stroboscopy to cinema, television and new digital media.

ENG 286 - INTRODUCTION TO CINEMA STUDIES [Context] Dodd
TR 11:10-12:30
T 6:15-8:45 Lab
The purpose of this course is to provide a critical introduction to the study of cinema and screen studies. Students will be introduced to several strategies to engage with cinema, including formal analysis of films, film theory, and histories of cinema from the Hollywood studio system to contemporary transnational film markets. This course satisfies the Knowledge Foundations in the Humanities requirement of General Education, the Contexts category in the English Major and is the introductory course for the major in Cinema and Screen Studies.

ENG 304 - LITERARY CRITICISM Bertonneau
MWF 10:20-11:15
Students will study aspects of language, such as etymology, poetics, and narratology. The course explores such questions as, what is the ontology of the literary text, what are the distinguishing features of the literary genres, what is are the connections between literature and other aspects of culture and high culture? Students will read Owen Barfield on History in English Words, Cleanth Brooks on the function of ambiguity in the constitution of the poetic experience, René Girard on the relation of literature to myth and to ritual. The instructor integrates selected films and filmed performances in the course.

ENG 304 - LITERARY CRITICISM Schaber
MWF 12:40-1:35
This semester we will engage with a series of texts, some quite old, others quite recent, which will help us become increasingly attentive to the elements and practices constitutive of literature as such and to sketch some of the possible horizons for the understanding of works of literary art. In short, these texts-by philosophers, linguists, psychoanalysts, anthropologists, poets, scientists-will help us situate ourselves in relation to literature and criticism, both of which imply creative acts. Bi-weekly papers and a final project. Required text: Leitch et al., eds. The Norton Anthology of Theory and Criticism.

ENG 304 - LITERARY CRITICISM Curtin
TR 11:10-12:30
We will examine literary "theory" that spans from the Enlightenment to the contemporary period, and we will consider debates about of the role of the poet or writer in history. Our initial discussions will focus on Ursula LeGuin's novel, The Dispossessed, and the first essay will provide an opportunity to develop literary analysis guided by whatever questions most resonate with you. Though we will move on to examine literary theory primarily, we will reflect on various theoretical approaches by re-visiting The Dispossessed throughout the semester.
Teams of students will work together to facilitate class discussion of theoretical texts: identifying, contextualizing, and paraphrasing the central thesis of each project; exploring the premises and implications of each new essay; juxtaposing new inquiries with more familiar with ones; and demonstrating how the theoretical text illuminates The Dispossessed. This kind of engagement will constitute the basis of the second essay. In the final essay project, students will choose a literary text from an extensive list, develop their own theoretically informed analysis and argument, and integrate relevant critical scholarship. This project will be undertaken in stages, including a proposal, an exam, a draft, a conference, and a revision. Throughout, students will receive feedback as well opportunities to reflect on that feedback in writing. By semester's end, students will advance compelling literary analysis in their own voices while demonstrating growth as critical writers.

ENG 304 - LITERARY CRITICISM Cooper
TR 2:20-3:40
Critiquing Representations of Subjectivity in Literature. A subject is a person who uses their mind to produce knowledge of an object by creating a mental relationship with that object, so they can learn what the object means to them as a subject. The main purpose of literature is to represent subjectivity, and how people use their minds to relate to the objects that surround them. An object can be a material thing in the world, such as a person, an animal, a tree, a book, a movie, etc. An object can also be a non-material thing, a thought, idea or picture produced inside the mind, usually in connection with the subject's interaction with the material world. Your goal in this course is to develop ways of reading, discussing and writing that will enable you to critique the methods used by literary texts to represent the thought processes different subjects go through as they try to relate to the people, things and ideas that make up their world. In concert with performing close readings of literary texts (a poem, a play and a novel), you'll consult influential theoretical works by philosophers, cultural critics and psychoanalysts whose theories of subjectivity have had a major impact on the way subjectivity has been represented, and critiqued, in Western culture. You'll also learn to perform meta-critiques (a critique of a critique) of sample works of literary criticism. We'll pay special attention to the ways formal, generic conventions contribute to representations of subjectivity, and how works of literature use representations of subjectivity to create, and subvert, norms of racial and sexual identity, personal agency, social relations and political power. Course work consists of one short early paper, homework assignments that apply key concepts from a particular critical text to a close reading of language from the literary text, an oral presentation, and a final research paper.

ENG 319 - SHAKESPEARE-AN INTRODUCTION [Text] Murphy, P.
TR 3:55-5:15
This course studies Shakespeare's development as a writer who explores new possibilities for his poetry and his plays while altering, amplifying, or discarding old strategies. We examine the full range of Shakespeare's writing: (1) from his somewhat early work in the sonnets and narrative poems along with his early experimentations in comedy to his more mature developments in the history play and festive comedy, (2) from his first attempts at tragedy to the breakdown of comic form in the problem plays, and (3) from his exclusive attention upon tragedy to his almost exclusive work in the later romances. Our readings will be selected from each of these phases and genres. There will be two or three examinations and two essays.

ENG 322 - 19th CENTURY ENGLISH NOVEL Coll
TR 12:45-2:05
The nineteenth century has often been described as the "golden age" of fiction, a time in which the novel form took on a shape and function that we now consider conventional. In this class, we will explore how the emergence of the novel in Britain in the nineteenth century both reflected and constructed ways of thinking about a world that was in the midst of enormous cultural, political, and material change. Through our reading of six representative nineteenth-century novels, we will analyze narrative techniques, approaches to characterization and emplotment, the concept of the novel as a site for ethical engagement, and the changing aims of authors and readers across the century. Your work in this class will include active discussion and participation, staying current with your reading assignments, completing several short writing assignments and tests, and producing a research-based analytical paper.

ENG 323 - 20th CENTURY BRITISH FICTION [Text] Jayawardane
TR 2:20-3:40
Study of major twentieth century British fiction. PREREQ: Minimum sophomore standing or instructor permission.

ENG 351 - AMERICAN POETRY SINCE 1945 [Text] Staff
MWF 11:30-12:25
Study of American poetry since World War II. PREREQ: Minimum sophomore standing or instructor permission.

ENG 360 - LITERATURE IN GLOBAL CONTEXT [Context] Holt-Fortin
TR 2:20-3:40
Futurism. Feminism. Colonialism. In the past 100 years the world has changed radically. In this course we will look at a few writers influenced, recorded, and responded to the 'isms' of the modern world and their effects of course of the past century. Of necessity, we can only touch the surface of that writing. We read around the world, mostly exempting European writers who might be covered in other courses.

ENG 360 - LITERATURE IN GLOBAL CONTEXT [Context] Schaber
W 6:15-8:45
W 3:00-5:00 Lab
"After Independence: Film, the Arts and Politics in Algeria, Morocco and Tunisia"
The complex events we call the Arab Spring have their origins in North Africa. These events call upon students and scholars to make sense of histories that now require re-interpretation and of a present giving birth to remarkable cultural, social and political changes. This course is an exploration of North African cultural practices (art, film, literature, music) and their connections to wider social and political movements from both national and global perspectives, from the post-independence period (around 1960) to the present. The course is organized around three major historical periods of the Maghreb (Algeria, Morocco, Tunisia): 1. Post-independence (Nationalism, Pan-Arabism, Cold War, Arab-Israeli conflict); 2. Globalization (economic and demographic flux, Islamism); 3. The Arab Spring (democracy, national revival). How have Maghrebi artists, musicians, writers and filmmakers-both those in North Africa and those dispersed across Africa, the Middle East, Europe, and the Americas--created forms appropriate to and commensurate with these wider social, political and historical periods? Course includes Skype sessions with scholars and students in N. Africa, collaborative archival project, and the production of a video essay. Satisfies GE World Awareness--Humanities. Required texts: tba (but I'll keep costs low!). (Crosslisted with CSS 360)

ENG 365 - JUNIOR SEMINAR Guerra
TR 9:35-10:55
Melville: Publication and Annihilation. In this course we will analyze the modern idea of"author" in the United States as a social technology defined by a number of factors: the invention and improvement of mass-printing technologies such as lithography and the steam press, cultural fields defined by the aesthetic tastes of editors and audiences, the legal apparatus of copyright, and, of course, historical trends in literature and "literary" writing. Authorship in modern society entails much more than the romantic vision of a solitary mind toiling by the candlelight, more than simply putting pen to paper. And perhaps no author more fully reflects the triumphs and trials of this institution than the notoriously elusive, relentlessly complex, and ultimately rewarding Herman Melville. A darling of American audiences for his early sea-faring adventures Typee and Omoo, he was financially ruined by his most enduring book, Moby-Dick. Tracking a representative cross-section of Melville's work-along with touchstone critical essays, contemporary literature and reviews, and biographical back story-we will develop and complicate our ideas of "author," while thinking along with one of the most celebrated and eviscerated minds that ever aspired to that role.

ENG 365 - JUNIOR SEMINAR Clark
TR 2:20-3:40
James Baldwin and the Price of the Ticket
This course will focus on selected works by James Baldwin. Baldwin was one of the most profound and prolific writers of the twentieth century. He was noted for his activism during the 1950s and 1960s, having worked closely with many foot-soldiers and leaders of the Civil Rights movement including Dr. Martin Luther King, Jr. His essays and novels address a range of topics-including (but not limited to) masculinity, gender, religion, sexuality as these intersect with notions of race and national identity in the United States. Some of the works we might read include The Fire Next Time, Giovanni's Room, Another Country, Evidence of Things Not Seen, Go Tell It on the Mountain, If Beale Street Could Talk, and selected essays in The Price of the Ticket. The principle course requirement will be the completion of an extensive research project.

ENG 370 - WOMEN IN LITERATURE [Context] Curtin
TR 2:20-3:40
Reading an array of poems, short fiction, and theoretical essays authored by twentieth-century women, we will examine the assumptions that underwrite our notions of authorship, representation, equality, and difference (sexual, racial, gender, class, etc). Students will demonstrate the ability to analyze figurative language, poetic form, and narrative strategies in support of arguments about women's writing. Students will also take positions on whether women's writing is distinctive on epistemological, aesthetic, political, or ontological grounds. In their analyses and arguments of literature by women, students will demonstrate some mastery of critical vocabulary proper to literary and feminist theory. Specifically, students will engage critical accounts by a range of feminist thinkers, including Virginia Woolf, Alice Walker, Simone De Beauvoir, Audre Lorde, Hélène Cixous, Monique Wittig, Barbara Smith, and Chandra Mohanty. These writers' theoretical texts will be a resource as students analyze literary texts and develop arguments. Students will also have opportunities to examine women's writing in relation to literary movements and historical events and will conduct research to offer their own accounts of the relationship between women's writing and the feminist movements of the twentieth century. Finally, students will produce and present a "creative reflection" on the course material.

ENG 373 - THEORIES OF LANGUAGE [Theory] Staff
MWF 9:10-10:05
A survey and analysis of recent theories of language as the ground of literature, including reading, writing, speaking, and understanding. The course will examine the interplay between language and the issues of class, culture, gender, race, and childhood that affect our use of languages. PREREQ: Minimum sophomore standing OR LIN 100 or instructor permission.

ENG 374 - HISTORY & DEVELOPMENT OF ENGLISH LANGUAGE [Context] Staff
TR 3:55-5:15
Historical backgrounds of the English language, growth of vocabulary, and development of linguistics standards and usage. PREREQ: Minimum sophomore standing or instructor permission.

ENG 375 - THEORIES OF DIVERSE SEXUALITY [Theory] Murphy, P.
W 6:00-8:45
This course will survey recent controversies and intellectual issues within (and among) the lesbian, gay, bisexual, queer, transgendered, and transsexual communities, along with the prevailing (heterosexual) culture, in order to identify recurrent problems, questions, or conflicts and opportunities that may profit from theoretical and literary reflection. We will try to locate those problems and possibilities within historical contexts that might place them in a different light--specifically by raising questions about how we determine what a relevant context is. We will try to appraise what people ordinarily find themselves saying (both pro and con) when they talk about sexuality (or when they represent diverse sexuality in literature or art), while we study the rich discourses from where various phrases emerge. We will ask other questions as well, such as: What historical, political, cultural, and personal conditions are served by diverse experiences of sexuality? This inquiry will also examine heterosexism, homophobia, outing, and coming out of the closet, among other topics. Why do we talk the way we do about our sexual identities? (And all the while we will be asking: Why is sex so much fun?) How do we construct and perform our sexual identities? To what conditions might this construction answer? Does this way of talking (and living) have a history? If so, can we discover what that history might be, and can we solve some of our difficulties by understanding those histories (and perhaps by finding more adequate ways of speaking and thinking about them and our diverse sexual lives)? Can our sexualities not only record our history, but might they also be able to act upon history in ways that change or alter the world? This course also serves the Women's Studies program.

ENG 385 - CHILDREN'S LITERATURE [Text] Troy-Smith

MWF 9:10-10:05
A survey course of literature for children. Not a course in methodology, the basic purpose of this course will be to survey the various genres of literature that have been written especially for children (approximately 2-14 years of age), or literature that was originally written for adults, but now has generally been relegated to children. The genres include: picture books, nursery rhymes, folk literature, modern fantasy, realistic fiction, poetry, and information books. Criteria will be established for literary evaluation. Certain social issues such as sex, sexism, and violence will be discussed in terms of children's books.

ENG 386 - THE CINEMA [Theory] Schaber
M 6:15-8:45
W 3:00-5:00 Lab
A direct engagement with some fragments of the major theories of film from the 1930's to the present. These primary documents will mediate an extended discussion of what cinema has been (or perhaps might have been), what it is (or perhaps might be), and what it is becoming (or perhaps might be becoming). But we don't only have to think about the cinema; sometimes the cinema encourages us to think about other things, many other things, as well. Three take-home exams. Required texts: Timothy Corrigan and Patricia White, Critical Visions in Film Theory (2011); Thomas Elsaesser and Malte Hagener, Film Theory (2010).

ENG 387 - VISION & TEXTUALITY Guerra
TR 11:10-12:30
"I see what you're saying." Who hasn't uttered some version of this phrase before? Mundane. And yet, if we really look at it, this everyday expression illustrates that the distinction between vision and text is always, well, blurry. From pictures that tell a story, to our generally held notions that a good book paints pictures with words, vision and text consistently and messily define each other in often frustrating and interminable loops. The inability to define one without the other-even as we commonly assume pictures and texts are distinct entities-often means that the idea of one lingers in the other, structuring it subtly. They haunt and perhaps even curse one another. In this course we will begin to unpack the relationship between these two terms by looking at fictions that highlight the link between vision, text, and curse-between the visionary as an agent of change and the historical documentarian as a reminder of what remains the same. Our case studies will range from the historical "wizardry" at the core of Nathaniel Hawthorne's The House of the Seven Gables, to the aesthetic evils of Oscar Wilde's The Picture of Dorian Gray, to the dark generational dramas of watching and acting in Toni Morrison's Sulaand Junot Díaz's The Brief Wondrous Life of Oscar Wao. All the while, we'll develop our own critical eyes, enhancing our capacity to theorize productively about visual and verbal texts, and to allow these theories to change the way that we and others see.

ENG 388 - FILM GENRE [Theory] Deater
TR 11:10-12:30
T 6:15-9:00 Lab
A history and analysis of film genre. The course will examine the notion of film genre as distinct from other notions of genre, in particular, literary genre. Special attention will be paid to horror, melodrama, film noir, musicals, science fiction, and teen pics. Prerequisite: ENG 286 or minimum sophomore standing, or instructor permission.

ENG 395 - SS: YOUNG ADULT LITERATURE Kane
TR 2:20-3:40
This course will involve the study of current issues in the field of young adult literature, as well as major authors, themes, genres, award winning books, and pedagogical concerns. It will provide strategies for selecting and sharing appropriate literature with teens.

ENG 465 - SEMINAR IN ADVANCED LITERARY STUDIES Jayawardane
TR 11:10-12:30
A comprehensive review of the problems confronting the literary scholar, with emphasis on the theory and methodology of literary study. Prerequisite: ENG 304 or instructor permission.

ENG 465 - SEMINAR IN ADVANCED LITERARY STUDIES Curtin
M 3:00-7:00 at Metro Center
Memory and Storytelling: U.S. Literature and Racial Politics
This advanced seminar will be taught at the SUNY-Oswego Metro Center in Syracuse, New York, and it will center on a collection of interviews focused on race relations in the region during a seminal time in local and national history. Conducted under the auspices of the Human Rights Commission, more than seventy interviews were recorded between 1963, when the Commission was founded to redress segregation and racial tensions in the county, and 1983 when the interviews were archived in the Onondaga Public Library system. A little over two decades later, we will examine this project as a springboard to an extensive reflection on the nature of memory and storytelling as they shape the civic sphere. Students will read a mixture of literature, theoretical essays on memory, and historical accounts of the civil rights movement as preparation for conducting their own interviews about race relations in the city of Syracuse in 2014. To develop their own source material, students must be prepared to network in the communities where they learn and work. The interviews might ultimately take various forms, though one goal of the course is to find ways to share the stories that arise from these interviews, whether in a public forum or in written forms available to the broader community. The nature of the seminar will require that students come prepared to pose their own questions, to develop their own independent inquiries, to pursue answers to their questions via research, and to immerse themselves in an interdisciplinary project that will blend history, philosophy, storytelling, and politics. Pre-requisite: A willingness to take initiative.

ENG 485 - WORDS IN THE WORLD Murphy, M.
MWF 1:50-2:45
The Words in the World capstone course partners students with local and regional non-profits, businesses, government agencies, and grassroots organizations to work on real-world writing projects. These projects challenge students to draw on and expand the strong writing and rhetorical skills they have developed across four years as English majors. As part of this work, students are asked to compose a "narrative of aspirations" that asks them to think deeply about their intellectual skills and temperaments, ultimately imagining a set of potential professional identities consistent with and following from the intellectual commitments they have made as English majors. Drafts of the narrative, a résumé, and a cover letter will be due during the first week of classes (instructions will be sent in advance of the first meeting); after receiving peer critique, writers will review project descriptions proposed by partners and revise their job documents accordingly. Interviews will follow, after which writers and partners will be matched. By the end of the semester, writers should be able to: 1) identify the writing needs of a community organization or business; 2) carry out research and conduct ongoing dialogue with key constituents to refine a sense of audience and purpose; 3) imagine and design specific documents through which to address that audience and purpose; 4) demonstrate effective cooperative work strategies; 5) complete agreed-upon, writing-based projects on a deadline; and, 6) analyze and interpret the effectiveness of the writing in line with the client's goals.
For examples of the sorts of projects Words in World students have found themselves in a position to write in previous semesters, see the white paper on hydrofracking composed by
Alex Bissell for the Onondaga Nation available at: http://www.oswego.edu/academics/colleges_and_departments/departments/english/Alex_Bissell.html
or Marilyn Borth's article on the abortion debate for the Syracuse New Times at:
http://www.syracusenewtimes.com/the-most-polarizing-issue-in-america/