Spring 2015 Course Descriptions

CINEMA & SCREEN STUDIES


CSS 235 - INTRODUCTION TO CINEMA PRODUCTION                                            Adams, Josh
TR 3:55-10:55
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 335 - INTERMEDIATE CINEMA PRODUCTION                                                    Dodd
TR 3:55-5:15
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 385- CHILDREN'S LITERATURE AND FILM                                                          Dodd
TR 9:35-10:55
This course examines classic works of children's literature as seen through the visual medium of film. Students will read works dating before 1923 which include selections from Lewis Caroll, The Brothers Grimm, Beatrix Potter Mother Goose, and L. Frank Baum. Emphasis will be placed on adapting these stories into short Super 8mm films. Throughout the course the student will learn how to write, storyboard, shoot, and edit a Super 8mm film using available household materials.  The primary goal of this course is to create fresh adaptations of children's stories using the free flowing creative process of a child. 

CSS 395- ENG 395 - INVISIBLE CINEMA: FILM AND THE NOVEL                        Schaber
MWF 11:30-12:25
Paradoxically, although film and theater share many visual and dramatic elements, and while film and painting or sculpture share many visual, compositional and even plastic elements, and despite the fact that the screenplay is often the basis of a film, film's closest aesthetic correlative is probably the novel, although the poem, the essay and, even and especially, music have strong claims on that position as well. Indeed, some of the cinema's most celebrated theorists have come to the conclusion that cinema is most itself at precisely the moment the film becomes a novel and the filmmaker a novelist. This course will be an extended investigation into a series of novels, from 1915 to the present, that seriously engage with cinema, its history, its formal and technical procedures, its creators and audiences. All students will be responsible for one in-class presentation and a final project. No theory. No films. Just novels. Really!

CSS 395- FILM FESTIVALS: HISTORY/PRACT                                                              Adams, Josh
MW 4:35-5:55
"We will study the history and application of film festivals, as students will research from past festivals, to present festivals and markets, the functionality and artistic ramifications of this industry standard of marketing, and selling your film and your brand. Students will participate physically and institutionally in the SUNYWide Film Festival, which will take place in April 2015, on the Oswego campus."

CSS 487- ENG 465- ADVANCED STUDY IN FILM THEORY                                      Shore
MWF 6:00-9:00 OR W 6:00-9:00
Belief in world: Film, Faith, Politics
Designed for advanced film and literature students, this course is an examination of some of the intersections between cinema, religion and politics, from the 1950's (Carl Dreyer, Ingmar Bergman, Roberto Rosselini) to the present (Karin Albou, P.T. Anderson, Pawel Pawlekowski, etc.). In particular, we will examine the resources certain very singular, cinematic practices have drawn from religion in order to contest the political closures and dead ends of their time. Miracles, resurrections and reincarnations galore! Belief not required. All students will be responsible for one in-class presentation and a final project.

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 201 - SCREENWRITING: INTRODUCTORY                                                          Knight
TR 12:45-2:05
This introductory course explores the screenwriting genre through practical application of various writing techniques, exercises, and organizational concepts, and through critical analysis of professional screenplays, film clips, and student work.

CRW 205 - POETRY WRITING: INTRODUCTORY                                                        Donnelly
MWF 12:40- :35- or- 1:50- :45
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 9:35-10:55
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 9:35-10:55
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                                                         Kolp
TR 6:15-7:35
This beginning fiction writing course will explore what makes a short story successful and get you started crafting your own. You will read and discuss a selection of contemporary short stories and use writing exercises to practice basic fiction techniques. By the end of the semester you will have written and revised a short story, and received constructive feedback from the entire class in a workshop format.

CRW 206 - FICTION WRITING: INTRODUCTORY                                                         Motto
TR 12:45-2:05-or-2:20-3:40
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
TR 9:35-10:55- or- 11:10-12:30
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 208 - CREATIVE NONFICTION WRITING: INTRODUCTION                            Halferty
TR 11:10-12:30-or-9:35-10:55
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                            Loomis
TR 12:45- 2:05
We become familiar with various modes of nonfiction writing, analyze and evaluate
literature in the genre, and study techniques of classical and contemporary authors of nonfiction. We learn conventions and mechanics of the form and practice craft. We recognize and create scene and effective dialogue. We practice using figurative language and other literary techniques. We address matters of writer's voice, intent, strategy, style, audience, theme, purpose and mood. We work together in an environment conducive to reading, writing and critiquing diverse texts, including the texts of other students as we participate in workshops.

CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION                           Allocco
M 6:15-9:00
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 295 - INTRO TO YOUNG ADULT WRITING                                                             Folk
MWF 11:30- 12:25 
Who are the heroines and heroes of the present-day young adult reader? Forty years ago, this question would have been much more difficult to answer, but in today's world, that hero is: Katniss Everdeen, Hazel Grace Lancaster, Tris Prior, Tobias Eaton, Harry Potter, Bella Swan (okay, maybe not that one). The realm of Young Adult writing has expanded greatly in the past twenty years and it is still growing. Students in this course will explore their own versions of what YA looks like in their own writing and how it interacts with the world today, compiling a series of short writing pieces and a longer final piece with the option of working towards a novel in the future. We will also examine earlier pieces of fiction that could be considered YA before the category even existed.

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                                                            Itzin
TR 11:10-12:30
This is an intermediate workshop in poetry. Students will read and discuss samples of the form by established writers, practice craft through short exercises, write their own poems for workshop, and offer criticism on each other's poetry. We will discuss trends in the poetry field, including that of ‘spoken word" or "performance poetry". Our goals are to hone writing skills, expand critical vocabulary, become familiar with several contemporary poets, and interrogate our own aesthetics regarding poetry. CRW 205 is a prerequisite.

CRW 306 - FICTION WRITING: INTERMEDIATE                                                           O'Connor
MWF 12:40-1:35 - or - 11:30-12:25
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 308 - CREATIVE NONFICTION WRITING: INTERMEDIATE                            Loomis
TR 11:10-12:30
In intermediate creative nonfiction, we read, critique, and discuss texts by established writers; practice craft through writing exercises, and offer criticism on each other's texts. We hone writing skills, expand critical vocabulary, become familiar with sub-genres of nonfiction, and apply ethical standards to make decisions as we discern fact from fiction and integrate researched material into our written texts. Each student creates one long nonfiction narrative, consulting with the instructor, applying best practices of process writing and self-editing, and, ultimately, presenting the text to peers in workshop. Prerequisite: CRW 208.

CRW 308 - CREATIVE NONFICTION WRITING: INTERMEDIATE                          Allocco
W 6:15-9:00
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 395- SPECIAL TOPICS- REWRITING THE FEATURED SCHREENPLAY    Giglio
MWF 1:50- 2:45
Screenwriting guru Robert McKee wrote: "Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity." In this course you'll take the first draft of your screenplay to the next level. Pre-requisites: CRW 301 and a completed first draft of a feature film or television one hour pilot.

CRW 395 - Literary Citizenship                                                                                          Steiner
R 4:00-6:45
This course is designed for motivated students to pursue ways of enhancing their understanding of the writing life. It is not a course on how to get a job, and is neither a literature course nor a creative writing workshop, although you will read and write extensively and will likely increase your "marketability" as a creative writer. Students will investigate ideas of "community" and "citizenship," and will work on various projects simultaneously, including but not limited to group and individual presentations; community activities; website or blog design; book reviews and other writing assignments. Emphasis will be placed on collaboration, initiative and professionalism. PERMISSION OF INSTRUCTOR REQUIRED.

CRW 405 - POETRY WRITING ADVANCED                                                                 Donnelly
MWF 3:00- 3:55
Advanced Poetry Writing builds upon the experiences of CRW 205 and 305 as students refine their poetic practice. Over the course of the semester, each student will write a chapbook of poems, a focused collection of fully revised poetry. The class also considers how writers remain involved with poetry after college, including explorations of literary journals and publishing, community outreach, and graduate writing programs.

CRW 406- FICTION WRITING: ADVANCED                                                                 O'Connor
MWF 10:20- 11:15
This course will teach students how to shape and plan an original novel. Students will be asked to break down a short story and a novel by their favorite authors, and then use the structure to guide them in their own work. This class has an online component; workshops, exercises, and responses to readings.

CRW 407- Playwriting Advanced                                                                                    Korbesmeyer
MWF 12:40- 1:35
An advanced playwriting course that focuses on using improvisation and "on its feet" workshop exploration to move work to next level of development.
Prerequisite: CRW 307.
Offered: Spring.
Credit: 3

CRW 408 - Advanced Creative Nonfiction Writing                                                      Steiner
T 4:00- 6:45
This is an advanced workshop in creative nonfiction. Students will read and discuss samples of the essay form by established writers, write their own essays for workshop, and refine the practice of critique. We'll discuss issues of importance to nonfiction writers, such as the rise of the e-book, iTunes' experiment to offer individual essays for sale, and the always-relevant subject of factual truth versus emotional truth. We'll further pursue ways to integrate research and investigate ways to expand subject matter beyond the realm of memoir. We'll study contemporary literary journals and other resources for writers, and students will submit work to online or print journals. Students will create and maintain a blog. CRW 308 is a prerequisite.

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 204 HONORS- WRITING ABOUT LITERATURE                     [Core]              Guerra
MWF 10:20-11:15
In this course, we'll read literature across an eclectic variety of genres and periods in order to understand the broad value of "literary" thinking-that is, imaginative textual engagement that fixates on the productive forces of analogy, metaphor, style, and form. We'll begin with the witty and idea-centered short stories of Jorge Luis Borges, Edgar Allan Poe, Herman Melville, and Nathaniel Hawthorne before tunneling into the wordplay and rich emotional worlds portrayed in the poetry of Walt Whitman, Robert Frost, Marianne Moore, and T.S. Eliot. In the second half of the course, we'll think about the roles of perspective and dramatic context in William Shakespeare's Hamlet as well as its meta twentieth-century follow-up, Rosencrantz & Guildenstern Are Dead before closing on tragic, beautiful, and darkly insightful novels of Toni Morrison and Philip K. Dick. In the process, we'll hone our skills as analysts and interpreters, learning how to approach literature from a range of theoretical perspectives while also examining its basic structures.

ENG 204 - WRITING ABOUT LITERATURE                                       [Core]             Moore
MWF 12:40-1:35
What is this thing called "literature"? What is its relationship to the worlds in which the writers moved, the worlds in which you and I move? Why are the works of some writers read for generations while those of others -- more popular, perhaps, when first published -- pass quickly from notice? Can very different interpretations of the same poem or short story or play have claim to equal validity? Can we challenge the validity of any particular interpretation, or are they all simply differing opinions? In this HON 204 class, we will consider these and other such questions. We will read widely, discuss what we've read, and you will write about your reactions to and understanding of those readings.
COURSE TEXTS: (1) The Heath Anthology of American Literature, Volume E, Contemporary Period, Paul Lauter, Editor; (2) Light in August, William Faulkner; (3) Rules for Writers, Diana Hacker.
COURSE REQUIREMENTS: (1) four essays of varying lengths, at least one involving research and documentation of sources; (2) a one-page precis of a critical article; (3) reaction responses written in and out of class and occasional quizzes; (4) bibliography of 5 critical articles on a short story or poem; (5) an in-class panel presentation on Light in August; (6) final exam; (7) class participation.

ENG 204 - WRITING ABOUT LITERATURE                                     [Core]            McCoy 
TR 9:35-10:55
This introductory course to writing about literature will teach you how to analytically respond to literary works by attending closely to their language and to their thematic content. In terms of the latter, we'll be looking at T.S. Eliot's "The Waste Land" as a source work through which to look at many other international modernist texts that deal with the so-called (spiritual) malaise characteristic of much 20th century culture, a malaise that I would argue still affects us today. We will read these texts and respond to them via informal journal writing and formal essays, one of which will include research.

ENG 204 - WRITING ABOUT LITERATURE                                    [Core]              Bishop
MWF 9:10-10:05
Even students who love literature often struggle to produce "successful" assignments for their classes. It has been my experience that students' ideas are ‘ahead' of their writing skills-they know what they want to communicate they just don't know how. In order to approach this problem head on, this class will mimic a composition class in many ways-more frequent writing assignments, attention to stylistic issues-all in the service of improving your ability to produce essays on the literature you read for me and your other professors.

ENG 210 - WESTERN HERITAGE I: LITERATURE                      [Context]        Bertonneau
MWF 11:30-12:25
A survey of the antique basis of Western Civilization focusing on the Greek and Latin achievements through a survey of selected texts. The instructor has organized the course thematically around the topic of the Trojan War. Students read Homer, the tragedians, Virgil, and others on the moral, political, cultural, and theological implications of the Trojan War. The course addresses the question whether the Trojan War was an actual event and if so whether its causes and consequences are attestable, outside of literature, in the archeological evidence. Students will view several films and filmed performances related to the theme.

ENG 220 - MODERN CULTURE AND MEDIA                                 [Text]               Folk
MWF 9:10-10:05
Using examples from popular culture, social media, film, television, novels and popular trends as the "text", this course examines what effect our culture has on modern media and vice versa. Students will take a deeper look at what it means to be human and interact with the world, as it exists today. Specific topics will be examined using zombie lore, fairytales in popular culture and much more!

ENG 220 - MODERN CULTURE AND MEDIA                                 [Text]               Coll
TR 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 220 - MODERN CULTURE AND MEDIA                                 [Text]             Guerra
MWF 12:40-1:35 
What is "media" and how does it affect the way we live our lives? Though we may often think of media simply as something ephemeral-the daily cycle of twenty-four-hour television news, the scrolling feeds of social networks, the crumpled and ink-smeared pages of print publications-our engagement with it affects us in sustained and sustaining ways. As the very substance and texture of everyday life, it can change who we are, how we think, and what we think to do. In this course, we'll begin to define more precisely what media is, how it produces such widespread effects, and what it can tell us about ourselves and our world. We'll approach this by reading several authors who use the idea of media and mediation to describe broader cultural themes, and we'll also use video games as case studies for exploring the differences between our "true" and mediated selves.

In the process, we'll hone our skills as analysts and interpreters, learning how to engage with media from a range of theoretical perspectives while also examining its basic structures-as well as its more complicated, confusing, even troubling ones.

ENG 236- AMERICAN LITERATURE/CIVIL WAR-PRES           [Context]         Guerra
MWF 1:50-2:45
"The Real, the Utopian, and the Half-Real." Often when we say something is utopian, we in fact mean, it is impractical, impossible, and (likely) unadvisable. In popular thought, the utopian is a fool-a foil for the practical thinker, the realist who will "tell it like it is." Yet in the United States, a country deeply motivated by the "dreams" of its inhabitants, there has always been a productive tension between the dreamer and the realist-a tension reflected historically by the generic conventions of the Realist novel, on the one side, and the Romance or Utopian narrative on the other. By tracking foundational works that established these prevailing strains of literature in the United States-as well as experimental work existing between and complicating these poles-this course will examine the U.S. cultural imaginary from the Civil War through the current moment. In addition to exploring these themes, this course will also strengthen students' skills in close reading, argumentative writing, and analytical discussion. Readings will include works by Mark Twain, Henry James, Charlotte Perkins Gilman, William Faulkner, Flannery O'Connor, Kurt Vonnegut, Toni Morrison, and Junot Díaz.

ENG 265 - SOPHOMORE SEMINAR IN GENRE                             [Core]              Bishop
MWF 10:20-11:15
Ecology in British Romantic Poetry
This class exists to give English majors a strong introduction to a specific genre of literature. In this class we will focus on the poetry of British Romanticism. British romantic writers operated between 1780-1830, and concerned themselves with themes of imagination, revolt, women's rights, abolition, nature and other radical subjects. We will encounter these themes by working through the different verse forms these poets chose to pour their work into. These include: narrative, lyric, ballad, ode, and elegy among others. While students often find poetry to be inaccessible and challenging (if not down right boring) this class will strive to always be interesting and engaging to those who have a passion for poetry and those who...not so much.

ENG 265 - SOPHOMORE SEMINAR IN GENRE                             [Core]             Cooper                 
TR 9:35-10:55
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.
T 9:35-10:55
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 STUDIES                   [Context]        Dodd
TR 12:45-2:05                     
W 6:00-9:00 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                                                [Theory]                Bertonneau
MWF 9:10-10:05
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                                                      [Core]                Murphy, P.
MWF 12:40-1:35
How do literary critics do what they do? What is the secret behind writing a critical interpretation of a literary work of art that others will find insightful and compelling? What is at stake when literary critics begin to argue over how works of literary art should be read or taught? This course will answer some of these questions, while it attempts to answer the toughest questions of them all: What can one do with an English major? We will pursue these and similar questions by focusing upon some interpretive strategies in formalism, structuralism, hermeneutics, psychoanalysis, deconstruction and cultural materialism. We will examine some developments within feminism, gay and lesbian studies, and perhaps some cultural anthropology and ethnography, while situating these developments within the larger traditions of literary criticism and theory that begin with Plato and Aristotle. By reading both theory and criticism along with several specific literary texts, we will examine how literary criticism is fashioned, what is at stake in its arguments, and how literary criticism provides its own unique kinds of political, philosophical, historical, and poetic knowledge.

ENG 304 - LITERARY CRITICISM                                                      [Core]                 Cooper
TR 11:10-12:30
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.
MWF 11:30-12:25
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                                 [Text]                 Coll
TR 2:20- 3:40
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 327- ENGLISH DRAMA: SATIRE & EMPIRE                       [Context]            Cooper
TR 2:20-3:40
Male and Female Prositutes in British Comedy.
In 1660, after generations of employing male actors to play women's parts, the English theatre finally allowed women players to join its ranks. The move was instigated by the new King Charles II, who, besides being a prolific adulterer with numerous "bastard" children, was a huge fan of the theatre. In the new Restoration era of rampant hookups and illicit affairs, not only were theatres selling tickets for the novel opportunity of seeing female bodies on the stage, but some of Charles's mistresses became powerful (and controversial) politicians. Playwright Aphra Behn, the first English woman to earn her living as a writer, made romance the focus of her plots, and featured characters who worked tirelessly to get the kind of partner they desire. Romantic comedies flourished, satirically mocking the use of marriage as a neo-prostitutional business tool for acquiring wealth and status. Our reading will consist mostly of plays, although we will from time to time incorporate poems and short prose works on the topics of sex, marriage and gender roles. The critical reading offers theories on how sex and gender intersect with other world-changing events of this period in history: Britain's imperialist actions in Africa, the Americas, the Caribbean, Asia and the Muslim world. The plays brought to life an interesting set of fantasies, considering that most of the writers had never traveled beyond Europe, and the plays were populated with white actors impersonating people of color. Coursework: close reading of passages from the plays, one short midterm paper, a presentation, homework assignments about the critical readings and a final research paper.

ENG 347 - CONT. NATIVE AMERERICAN LIT.                                 [Text]                   Lalonde
W 5:30-8:15
We will spend our time reading, listening to, and thinking about texts produced by the White Earth Anishinaabe. Doing so, we will be in a position to examine the importance of place in and for the texts and to imagine the possibilities of a tribal-centered criticism. We will read poetry, nonfiction, fiction, and history. Students should expect to write essays and take exams. The course counts as an elective in the Native American Studies minor and as a World Awareness--Humanities offering in general education.

ENG 350- MODERN DRAMA                                                                    [Text]                    Moore
MW 3:00-4:20
This course surveys modern drama from Ibsen and Strindberg to contemporary dramatists such as Pinter, Stoppard, and Fugard, considering how each playwright uses the dramatic form and what their plays reveal about the worlds in which they move. As these texts were meant to be viewed in performance, whenever possible we'll make use of filmed productions as well as reading the printed text. Our primary objective will be to read, think about and discuss, and write about this selection of modern plays, written beyond America's borders.
COURSE TEXTS: (1) Ghosts, Ibsen; (2) Miss Julie, Strindberg; (3) Major Barbara, Shaw; (4) The Importance of Being Earnest, Wilde; (5) Galileo, Brecht; (6) Rhinoceros, Ionesco; (7) Waiting for Godot, Beckett; (8) Rosencrantz and Guildenstern Are Dead, Stoppard; (9) Betrayal, Pinter; (10) Master Harold . . . and the Boys, Fugard; (11) The History Boys, Bennett.
COURSE REQUIREMENTS: (1) in-class reaction/response writing; (2) short essay analyzing a scene, minor character, or staging choice; (3) longer interpretive essay; (4) group panel presentation; (5) take-home midterm and final exams; (6) class participation.

ENG 351- AMERICAN POETRY SINCE 1945                                       [Text]                     Itzin
MWF 12:20-11:15
American Poetry Since 1945 will study the poets and movements that have shaped modern poetry since 1945.

ENG 357 - BLACK WOMEN WRITERS                                                [Context]                Clark
MWF 1:50-2:45
This course will focus on the works of Black women writers in the United States from the 20th century to present. We will take up the several issues and positions Black women write within and against as activists, feminists, womanists, artists, cooks, daughters, sisters, wives, and lovers. The list of authors whose work we might read includes Alice Walker, Ntozake Shange, Toni Cade Bambara, Michelle Wallace, Natasha Trethewey, and/or Toni Morrison. Course requirements include term papers, class presentations, midterm and final examinations.

ENG 360 - LITERATURE IN GLOBAL CONTEXT                            [Context]               Holt-Fortin
TR 12:45- 2:05
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]                Jayawardane
TR 11:10-12:30
Typically when we speak of literature, we speak of ‘national' literatures like British,
American, or French literature, or of broader regional entities like ‘Western' literature or ‘Latin American' literature. But there have also been attempts to think of literature in a global setting - as travellers and migrants, taking ideas, goods, customs, reading habits with them as they move from continent to continent. Thinking globally has become only more urgent with the increasing technological advances of this century. And being critical readers, thinkers, and writers in this competitive new world of fast-moving Netizens is essential to being a successful and dynamic graduate, no matter where your degree will take you. The purpose of this course is to help students become more globally-aware by exploring a selection of contemporary literature-novels and memoirs different from the ‘classics' to which you may have been previously exposed-helping us understand the individual's role in rapidly evolving societies and landscapes. The novels and memoirs we read in this class will help us become critical thinkers and help us understand the individual's role in society. We will read also learn how to respond to though our own informed, well-designed, and well-researched writing.

Assignments will include the use of literary discussion to structure well-reasoned arguments, using standard English grammar, spelling, punctuation, and sentence structure in order to write excellent analytical papers. It's not a course designed to teach you basic grammar and mechanics. I'm so aware of the competition you will be up against from students in other parts of the world that I can't permit the usual whining and the regular rounds of excuses. Arrive with a strong work ethic and respect for the education for which you are paying-think of the class as a job, and preparation for the working world.

ENG 365 - JUNIOR SEMINAR                                                                   [Core]                  Moore
MWF 11:30-12:25
Toni Morrison and John Updike
Toni Morrison and John Updike, born just a year apart, are arguably the most celebrated American fiction writers of their generation, yet their careers offer us a study in contrasts. In this course, we will read several works by each writer, but more importantly we will delve deeply into the body of material related to their lives and work. The purpose of this course will be to practice the skills called upon when one focuses on the in-depth studies of a writer in contrast to survey courses which sample the work of many writers.
COURSE TEXTS: Morrison: (1) Sula; (2) Song of Solomon; (3) Beloved; (4) Playing in the Dark
Updike: (1) The Centaur; (2) Rabbit Run; (3) Rabbit Is Rich;
(4) collection of short stories

COURSE REQUIREMENTS: (1) 2 precis of critical articles from secondary materials; (2) occasional reading quizzes; (3) annotated bibliography of 7 critical articles on one Morrison or Updike work of fiction; (4) a research/interpretive essay; (5) group panel presentation on one of the novels; (6) take-home final exam; (7) class participation.

ENG 365 - JUNIOR SEMINAR                                                                   [Core]               Holt-Fortin
TR 2:20-3:40
Speak Friend and enter! Welcome to this seminar which will explore the writings of J.R.R. Tolkien and some of the criticism of his work from the past half-century. We read almost all of Tolkien's work except The Hobbit and the earlier sketches of his great works. This is a reading intensive course. There will be frequent quizzes, a midterm, and a term project.

ENG 376 - SCIENCE FICTION                                                                   [Context]           Bertonneau
MWF 1:50-2:45
An exploration of the mythic, philosophic, and poetic roots of the science fiction genre, this course surveys the field in the work of selected authors such as Leigh Brackett, Edgar Rice Burroughs, Philip K. Dick, Stanislaw Lem, H. P. Lovecraft, Catherine Louise Moore, William Olaf Stapledon, H. G. Wells, and others. Topics include science fiction as mythopoeia, as visionary experience, as anthropological speculation, and as metaphysics and theology. The course integrates key science fiction films, emphasizing the 1930s, 40s, and 50s.

ENG 382 - MODERN AFRICAN LITERATURE                                  [Context]               Jayawardane
TR 2:20-3:40
African Adventurers: Literature by Contemporary African Writers
Our course in contemporary African literature considers the ways in which youthful, hip, contemporary African literature emerges in the wake of twenty-first century migrations and technological advances. We will look at the ways in which Africa's rich and historically nuanced tradition of storytelling and writing engages, troubles, and contests what it means to be "global citizens" in the transition from the postcolonial years to this moment in modernity. The following questions are ever-present as we read: How do postcolonial African writers confront the atrocities of the past and those of their present? How do we measure character development when the life of the individual is determined by the whims of national and transnational power? How do writers construct meaningful plots when day-to-day life has been rendered arbitrary and uncertain? How do contemporary writers attempt to represent conditions designed to make life seemingly disposable, while reflecting the sublime beauty of the everyday? And how do the old themes of despair, dejection, and redemption (in the theological, economic, or ethical senses) work with imagination, and playing with form, language, and style?
Assignments will include the use of literary discussion to structure well-reasoned arguments, using standard English grammar, spelling, punctuation, and sentence structure in order to write excellent analytical papers.

ENG 385 - CHILDREN'S LITERATURE                                                 [Text]                    Troy-Smith
MWF 9:10-10:05-or-11:30-12:25
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]                Shore
MWF 9:10-10:05
The purpose of this course is to provide students with an overview of key ideas in film theory. During the course, we will focus on one or two essays each week to analyze thoroughly the theorist's arguments. The films screened each week will provide opportunities for us to break down and examine the film theories, examine how the theories can (or cannot) be related to specific films, and open up new avenues for theoretical inquiry. By the end of the course, the goals for student learning are:
1. Understanding of key theoretical movements in film studies from early cinema theory to postmodern theoretical approaches.
2. Ability to apply a theoretical approach to analyze a specific film or set of films.
3. Ability to place a theoretical approach within the history of film and film theory.
4. Ability to deconstruct the basic premises of a theoretical approach and pose alternatives to the theory in order to address identified deficits.

ENG 388 - FILM GENRE                                                                           [Theory]                    Deater
T 6:15-9:30
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 427- SHAKESPEARE AND INTERPRETIVE THEORIES   [Theory]                      Murphy, P.
W 6:00-8:45
This course will study Shakespeare's sustained reflection upon the infinite nature of human desire and our all-too-human finitude and basic animality. We will begin with Shakespeare's Titus Andronicus and with Ernest Becker's reflections upon the anxieties produced by our very human experiences concerning the limits of the human body. Anyone who has a body or who likes to think about what bodies can do, or should do (or cannot do, or should not do) as they grow and age might be interested in this course. Once students have grasped the general shape of the discussion by reading King Lear, Calderwood's criticism, and Becker's discussion, other plays by Shakespeare and their criticism as well as other theoretical works will be chosen by the students in the class. Some questions we will be thinking about include: Do we experience the possibility of our own death differently depending upon our sexuality? Is sex a preparation for death; is art that draws attention to sex and death engaged in disavowal? In what way does Shakespeare's art allow us to understand how the daily experience of bodily finitude can enhance our deepest sexual desires, experiences, and understandings? And what might love have to do with all of this? The course will include about four or five graded assignments and exams based upon the assigned readings, lectures, and discussions.

ENG 465 - SEMINAR IN ADVANCED LITERARY STUDIES          [Core]                       Schaber
W 6:00-9:00
Belief in the World: Film, Faith, Politics
Designed for advanced film and literature students, this course is an examination of some of the intersections between cinema, religion and politics, from the 1950's (Carl Dreyer, Ingmar Bergman, Roberto Rosselini) to the present (Karin Albou, P.T. Anderson, Pawel Pawlekowski, etc.). In particular, we will examine the resources certain very singular, cinematic practices have drawn from religion in order to contest the political closures and dead ends of their time. Miracles, resurrections and reincarnations galore! Belief not required. All students will be responsible for one in-class presentation and a final project.

ENG 465 - SEMINAR IN ADVANCED LITERARY STUDIES         [Core]                      Jayawardane
TR 9:35-10:55
"Literature of Travel, Migration, and Diaspora"
This course focuses on how literature-and storytelling-is an intrinsic part of travel, migration, and Diaspora. In our course, we will focus on novels and memoirs by authors who are the embodiment of the "global transnational" - sometimes deeply embedded in a "home" culture, but often loyal to neither nation nor ethnicity. Through reading literature by writers such as Zadie Smith (British-Jamaican), Chimamanda Adichie (Nigerian), and Jhumpa Lahiri (Bengali-American), we will explore changing dynamics of identity and national affiliation in an era of increasing global connectivity; we will also look at how literature and storytelling becomes part of the transnational flows of people, goods, intellectual ideas, and spiritual beliefs across oceanic pathways and cross-continental roads. How does literature capture the production, circulation, and consumption of ideas, serving as key sites for negotiating race relations and shaping constructions of socio-cultural and political identities? We will tackle a number of themes and issues including: patterns of migration, representations of identity and difference, "ethnic" cultural production, diasporic youth cultures, gendered dimensions of race-relations, relationship between class and race, and state policies. Students will also have an opportunity to conduct independent research on these topics as a final project for the course.

ENG 485 - WORDS IN THE WORLD                                                                                        Murphy, M.
TR 11:10-12:30
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/

ENG 486- WORLD CINEMA                                                                          [Context]              Schaber
MW 3:00-4:35 - or- M 6:00-8:30
A history and examination of, as well as an engagement with, cinema as a global phenomenon. The course will explore the idea, effects and institutions of many different cinemas, growing in different parts of the world, as these constitute both a single, global phenomenon and a set of independent existences and resistances.

ENG 486- WORLD CINEMA                                                                        [Context]                Deater
W 6:15-9:30
A history and examination of, as well as an engagement with, cinema as a global phenomenon. The course will explore the idea, effects and institutions of many different cinemas, growing in different parts of the world, as these constitute both a single, global phenomenon and a set of independent existences and resistances.