May 14, 2024  
2022-2023 Undergraduate Catalogue 
    
Catalog Navigation
  Catalogue Home
  Block Calendar
  Degree and Professional Programs
  Academic Information
  Courses of Instruction
  Programs of Instruction
  Additional Academic Opportunities
  Additional College Information
  General Information about Courses
HELP
2022-2023 Undergraduate Catalogue [ARCHIVED CATALOGUE]

Courses of Instruction

  

Topics Courses  
 

Engineering
  
  

  • EGR 311 - Engineering Circuits (1)

    Electronic circuits are found in computers, TVs, cell phones, and many other modern electrical appliances. This course teaches both the principles of electrical circuits as well as the mathematical techniques used to model and analyze circuit behavior. Topics include Kirchhoff’s laws, Thévenin and Norton equivalents, small-signal models, time-domain and frequency-domain analyses, Laplace transforms, logic circuits, and operational amplifiers. Prerequisite: PHY 162 
  

  • EGR 331 - Engineering Materials (1)

    It’s essential for engineers to understand the properties of materials used in designs: how materials behave under different environmental conditions, and how they fail. Students will study the mechanical, electrical, optical, chemical, and physical properties of materials including metals, glass and ceramics, polymers and composites. Changes in materials as a function of temperature are covered as well as stress and strain. Prerequisite: EGR 231 
  

  • EGR 332 - Mechanics of Deformable Bodies (1)

    An introduction to the effects of forces on solid bodies. Structures will be analyzed under axial, shear, torsional, and bending loads. Students learn to assess structures in terms of stress, strain, and deflection under the various types of loading. The course emphasizes individual and group problem-solving. Students apply course concepts to build and evaluate their own structures during hands-on design projects. Prerequisite: EGR 331   and MAT 122 .
  

  • EGR 336 - Topics: Signal Processing (1)

    The signal processing deals with a wide variety of applications including audio and speech processing, sonar, radar, image processing, biomedical engineering, and telecommunications and many more. The course covers fundamental concepts in signal processing, including an introduction to discrete-time systems. The course topics include discrete-time signals and systems, Z-Transform, discrete-Time Fourier Transform and DFT, FFT, design and implementation of digital filters, statistical methods, optimal filters, and error analysis. The course will cover both theoretical and practical aspects of signal processing, emphasising how to implement efficient algorithms in Octave/Matlab. EGR 311  
    (Laboratory Science)
  

  • EGR 346 - Fluid Mechanics (1)

    An introduction to the mechanics of liquids and gases. Topics include classifications of flows, fluid statics, Lagrangian and Eulerian descriptions of fluids, Bernoulli and energy equations, closed system and control volume concepts, dimensional analysis and similarity. Applications of fluids to engineering including internal flow, flow in pipes and ducts, external flow, lift and drag forces. This course includes a visit to IIHR - Hydroscience & Engineering at University of Iowa. Prerequisite: EGR 231 , EGR 271  and MAT 122  
  

  • EGR 352 - Heat Transfer (1)

    An introduction to fundamentals of heat transfer including heat transfer mechanisms, deriving heat conduction equation and defining initial and boundary conditions, steady and transient heat conduction in plane walls, cylinders and spheres, thermal resistance networks, critical radius of insulation, finned surfaces, numerical methods in heat conduction, fundamental of convection, heat and momentum transfer in turbulent flow, external and internal forced convection, natural convection, thermal radiation, blackbody radiation, the view factor, radiation shields. Engineering and real-life applications of the heat transfer mechanisms from plants to houses and space telescope. Prerequisite: EGR 346   & MAT 236  
  

  • EGR 361 - Signals and Systems Analysis (1)

    Linear systems and signal analysis are fundamental to engineering. Examples including signal transmission, signal processing, and the design of feedback and control systems. Topics covered include discrete and continuous linear time-invariant systems, Fourier analysis, Laplace and Z transforms, modulation, sampling, feedback and control. Prerequisite: EGR 311 
  

  • EGR 362 - Control Systems Engineering (1)

    The goal of Control System Engineering is to apply control theory (classical or modern) to analyze and design systems with desired behavior. The objective of this course is to introduce the student to the topic of feedback control design with applications on various systems. This course covers the mathematical modeling of mechanical, electrical systems, the transient and steady-state response analysis, Root-Locus and frequency response methods, PID controllers, and control systems analysis in state space. In this course Matlab/Simulink is used to practice modeling and controller design. Prerequisites: MAT 221 , EGR 231  & EGR 311 . Alternate years.
  
  

  • EGR 385 - Engineering Design Project (1)

    Students work on a design project in a small group to formulate an engineering solution to a real-world problem. Specific projects will be chosen in an area of the student’s interest with prior consultation with the instructor. Includes a comprehensive written report and oral presentation. Prerequisites: EGR 231 , EGR 271 , EGR 311 , and one additional EGR 300-level course, Senior standing or permission of instructor.
  
  
  

  • EGR 450 - Engineering Cooperative Experience

    The co-op is for upper-class engineering students who spend a full semester (4 blocks) working off-campus at a company. Through the co-op program, students are able to alternate academic study with full-time employment, gaining practical experience in engineering. Students must have at least junior standing at the start of the work assignment.  The position must be at least 4 consecutive blocks and at most 8 consecutive blocks long. Requires approval of academic advisor once the student submits a job description and contact information for the supervisor. Course is Pass/Fail only.
  
  

English and Creative Writing
  

  • ENG 106 - Adventures in Literature, Film, and Culture (W) (1)

    Develop your writing process and voice in this first-year writing seminar, featuring thought-provoking readings, and exciting creative and critical projects. Projects may include: research-based assignments like literature reviews or grant proposals; projects with real-world applicability like web writing and design; and exercises writing with literary critics and writing back to them. Potential themes include science fiction, war literature, nature writing, feminist fairy-tale transformations, independent film, travel literature, and more. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 106 - Be Transformed: Feminist Fairy-Tale Adaptations and the Creative Process (W) (1)

    Fairy tales have ignited the imagination of children and sophisticated salon readers, storytellers and political activists, authors and film-makers. Contemporary authors have used their familiar tropes and narratives to open up space for the mysterious and the emancipatory in stories of ordinary drudgery, neglect, injustice, violence. Case in point: the role of fairy-tales in the feminist fiction of Irish-Canadian author Emma Donoghue, English writer Angela Carter, and Nigerian-English author (currently a Czech expat) Helen Oyeyemi, which will be the focus of our discussions and writing in this class. We will dedicate our work to developing a basic vocabulary and guided practice analyzing both contemporary literary adaptations of fairy-tales and scholarship about these adaptations, toning our academic writing muscles by writing in a variety of informal and formal formats, developing writing strategies, and reflecting on writing as a multi-stage and recursive process. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 106 - College Writing Adventures in Literature, Film, & Culture ( (1)

    Develop your writing process and voice in this first-year writing seminar, featuring thought-provoking readings, and exciting creative and critical projects. Projects may include: research-based assignments like literature reviews or grant proposals; projects with real-world applicability like web writing and design; and exercises writing with literary critics and writing back to them. Potential themes include science fiction, war literature, nature writing, feminist fairy-tale transformations, independent film, travel literature, and more. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 106 - Democracy and the Liberal Arts (W) (1)

    Why should a doctor study literature? Or a computer scientist study biology? You are now enrolled in a liberal arts institution that places a high value on studying broadly across the disciplines. In this course we’ll examine what that means for your own education, but we’ll also explore the value of such institutions for society at large. What is higher education’s role in cultivating a healthy democracy? We will read widely and consider what it means to be educated citizens. As a seminar in first-year writing, strong emphasis will be placed on the development of academic writing skills through formal and informal writing assignments, guided writing and revision processes, and an exploration of writing techniques and strategies to hone reflective and effective writing skills. Not open to students who have previously completed a First Year Writing course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 106 - Hazardous Journeys and Grand Adventures (W) (1)

    What does it mean to be a traveler? An explorer? An immigrant? How do we reconcile our sense of self in each new context we uncover, on every new ground we tread? How does movement through space and culture fundamentally change us? Humans have been thinking about what it means to exist, to survive, and, even, to thrive or wither in strange lands for centuries. Indeed, because it is inevitably tied up with histories of colonialism, empire, race, gender, and able-bodiedness, travel is no simple thing. In this first-year writing seminar, we will explore the complexities of identity negotiation and formation through a selection of global travel literatures, loosely conceived. The course will encompass a variety of challenging readings and viewings that we will process through extensive in-class discussions, brief oral presentations, small group work, and evidence-based writing assignments. Ultimately, the course is also designed to inspire reflection and critical thinking about our own context and self-identity. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 106 - Patricia Rozema: Fantastical Feminist Filmmaker (1)

    Who is Patricia Rozema? You will find out as we immerse ourselves in watching her films and writing about this brilliant independent director from Canada. Screening five of her diverse films, we will write reviews, podcast scripts and essays, and research and compose a annotated bibliographies towards hypothetical research projects. With luck we will arrange a Zoom visit with the director. We may design a future Cornell College film festival program of her work. Rozema’s quirky debut film, “I’ve Heard the Mermaids Singing” in 1987 won the Cannes Film Festival, 1987: Prix de la Jeunesse [youth prize]; it was followed by When Night is Falling (1999), Mansfield Park (a 2008 hotly contested revision/adaptation of Jane Austen’s novel), her apocalyptical Into the Forest (2016) and most recently her stunning Mouthpiece (2018). Not open to students who have previously completed a First Year Writing course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 106 - Science Fiction and Science Fact (W) (1)

    In this first-year writing seminar, we will trace the history of science fiction as it is influenced by, and diverges from, scientific developments. Organized around several major themes (including artificial intelligence, outer space, and biological alterity) this course will highlight historical and contemporary fictions of science alongside the advancements in the physical sciences that inspired those texts. Along the way, we will question the fact that science and literature have often been considered separate fields of inquiry, evaluate just how “objective” science has been or could be, and examine the role that literary devices and trends played in the development of scientific knowledge. The course will ask students to produce multiple pieces of polished prose to be gathered together as part of a larger portfolio that explores these and other issues. Texts will include examples of science fiction - from novels to poetry - as well as contemporary films, short stories, and other genres. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 106 - Serializing Fiction (W) (1)

    Long before The Sopranos, Game of Thrones, and Breaking Bad, nineteenth- century writers perfected the art of serial publication-issuing their novels in weekly or monthly installments. Charles Dickens, famously, published all fifteen of his novels in one serial format or another. His friend Wilkie Collins offered this memorable recipe: “Make ‘em cry, make ‘em laugh, make ‘em wait.”This writing course will consider what it means to narrate in time. What is the relationship between narrative time and lived experience, the days and the years? We will begin with that great forerunner of serial narrative, Scheherazade, whose perpetual tale-telling in The Arabian Nights literally saved her life. Then we will read an archetype of Victorian serialization and bring the story up-to-date with examples drawn from film and television. Assignments include a creative-writing project, a close reading, and a proposal for a research essay on the TV show of your choice. Not open to students who have previously completed a First Year Writing course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 106 - Virginia Woolf, A Room of One’s Own, and “A Society” (W) (1)

    Virginia Woolf, feminist icon and brilliant writer, wrote her timeless essay/book, A Room of One’s Own, pointing out male privilege and the barriers facing women writers-and inspiring women to write. In the short story “A Society” she crafts a hilarious burlesque of male privilege, turning the tables to show women evaluating men-including cross-dressing and disguise. We will study these two works, and write papers, do research, and write scripts for podcasts of what we find. Not open to students who have previously completed a First Year Writing Course.
    (First Year Writing Seminar (FYW)) (Humanities)
  

  • ENG 111-2 - Topic: Fairy Tale Creative Process (W) (1)

    Fairy tales have ignited the imagination of children and sophisticated salon readers, storytellers and political activists, creative writers and film-makers. Sometimes dismissed as trite little (girl) stories or escapist fantasies, they have been discussed, conversely, as illuminating powerful anxieties and desire, as windows into the history of childhood and the family, as emancipatory dreams. To the writerly imagination, they are a treasure trove. Case in point: their prominence in Shakespeare’s tragedy Othello, the fulcrum of this First-Year Writing course, which reworks the familiar “Beauty and the Beast” tale, contains echoes from “Bluebeard,” and fragments from non-Western tales featuring slaves and cannibals, an Egyptian witch, a maid from Barbary, and a conniving devil. Othello itself has been re-worked in a variety of media and we will explore the fairy-tale qualities of some of these transformations by contemporary authors.Written assignments, including a paper involving library research, will challenge your creativity and hone your analytical and critical reading skills. Plan on daily writing, reflection on the writing process, and thoughtful, transformational revision. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW))
  

  • ENG 111-2, 5 - Topic: Science Fiction Science Fact (W) (1)

    In this first-year writing seminar, we will trace the history of science fiction as it is influenced by, and diverges from, scientific developments. Organized around several major themes (including artificial intelligence, time travel, and biological alterity) this course will highlight historical and contemporary fictions of science alongside the advancements in the physical sciences that inspired those texts. Along the way, we will question the fact that science and literature have often been considered separate fields of inquiry and examine the role that literary devices and trends played in the development of scientific knowledge. Texts will include early examples of science fiction - from novels to poetry - as well as contemporary films, short stories, and other genres.
    (First Year Writing Seminar (FYW))
  

  • ENG 111-3 - Topic: Intersectional Feminism (W) (1)

    Our everyday interactions-the ways we see ourselves and the ways others treat us-are deeply influenced by the interrelationship of gender, sexuality, race, class, and other identity categories. Black feminists in the 1970s were the first to fully theorize this idea, which we now call “intersectionality.” From Black Power to Black Lives Matter, from the Combahee River Collective to the Crunk Feminist Collective, this course spans fifty years of intersectional thought. We will use intersectionality as a lens through which to analyze identity and power in poetry, music videos, personal and critical essays, contemporary social movements, social media culture, and more. Writing assignments will include Moodle posts, a personal essay, an inquiry essay, a frame and case essay, and a collaborative podcast. By the end of the block, you will know how to read more closely, ask better questions, add more nuance to your critical thinking, hold better conversations, make strong claims supported by evidence, give useful feedback on peers’ writing, incorporate feedback into successful revisions, conduct scholarly research, and create new media writing. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW))
  

  • ENG 111-5 - Topic: The Art & Activism of Reading (W) (1)

    In this course we will focus on writing through the unique lens of Reading, particularly reading theories about reading, and looking into the Art and Activism of Reading. How is reading transformative? Revolutionary? Rather than escapist? How does writing and reading about utopian visions of more just societies contribute to making them possible? We will consider utopian texts, transformative films, and more. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW))
  

  • ENG 111-7 - Topic: Hazardous Journeys & Grand Adventures (W) (1)

    What does it mean to be a traveler? An explorer? An immigrant? How do we reconcile our sense of self in each new context we uncover, on every new ground we tread? How does movement through space and culture fundamentally change us? Humans have been thinking about what it means to exist, to survive, and, even, to thrive or wither in strange lands for centuries. Indeed, because it is inevitably tied up with histories of colonialism, empire, race, gender, and able-bodiedness, travel is no simple thing. In this first-year writing seminar, we will explore the complexities of identity negotiation and formation through a selection of global travel literatures, loosely conceived. The course will encompass a variety of challenging readings and viewings that we will process through extensive in-class discussions, brief oral presentations, small group work, and evidence-based writing assignments. Ultimately, the course is also designed to inspire reflection and critical thinking about our own context and self-identity. Not open to students who have previously completed a First-Year Writing Course.
    (First Year Writing Seminar (FYW))
  

  • ENG 200 - Archival Quests (SYS) (1)

    Contemporary approaches to shaping, preserving, and presenting historical memory have fostered a literary fascination with archives, book history, old and new media. This SYS integrates the study of fiction and poetry embodying the idea of the archive with hands-on exploration of practical and ethical questions involved in archival work. Literary readings will include Muriel Rukeyser’s groundbreaking documentary epic The Book of the Dead and Margaret Atwood’s exploration of documents, story-telling, and truth in her latest novel, The Testaments. Archival work will engage with twentieth-century publications of Cornell College’s Hillside Press and personal narratives/self-expressive art objects in Cole Library’s archives. We will also explore the Sackner Archive of Concrete and Visual Poetry at the University of Iowa Libraries Special Collections and/or the M. Horvat Collection of Science Fiction Fanzines, also at the UI Special Collections. Part literary seminar, part lab work in book history and book art, part individualized research tutorial, part workshop in textual editing and e-publishing, Archival Quests will culminate in the creation of a digital exhibition curated by our class, publicizing personal story-telling, short fiction, and/or poetry by creative writers and artists whose work has been archived by Cornell College. Only open to sophomores.
    (Sophomore Year Seminar (SYS)) (Humanities)
  

  • ENG 201 - Introduction to Literary Studies (1)

    Transporting us across time and cultures, taking us out of ourselves and into new worlds-what a wild ride literature takes us on! What strategies of reading and analysis can help us understand what it does-and how it works its spell on readers? The introduction to the English major will approach these questions through tactics for reading, analyzing and interpreting works of literature and their cultural moment, including the illuminating work of close reading. We’ll focus on understanding literary conventions, writers who challenge them, multiple genres or forms of writing-as well as hybrid ones, and will look into critical inquiry and theory that open up our reading worlds. We will develop our writing and research skills as we explore a variety of texts, including ones from diverse cultural moments and historical periods.

    Check with Self-Service for the specific texts to be explored in your section.
    (Humanities) (Writing Encounter)
  

  • ENG 202 - Introduction to Film Studies (1)

    An introduction to film as an art form, cultural practice, and institution. The class focuses on questions of film form and style (narrative, editing, sound, framing, mise-en-scène) and introduces students to concepts in film history and theory (e.g. national cinemas, periods and movements, institution, authorship, spectatorship, ideology, style, genre). Students develop a basic critical vocabulary and research practices for examining film. They apply their skills in oral and written analysis and interpretation to a wide range of films: old and new, local and global, mainstream and less familiar.
    (Humanities) (Intercultural Literacy Intensive)
  

  • ENG 215 - Introduction to Creative Writing (1)

    Beginning course in creative writing and an introductory course to the English major. Students will explore a myriad of writing techniques and approaches to writing in a variety of genres. Students will write, share work, and offer critiques. The course also includes the study of published authors as models for student writing, as literary historical context for artistic creation, and for the study of creative theory. Students will learn to analyze texts from a writer’s perspective, which they will apply to their own writing and to the study of literature in the major.
    (Fine Arts) (Writing Encounter)
  

  • ENG 218 - The Art and Activism of the Journal as Creative Writing (1)

    Are you ready to venture on a Journal of a lifetime? Journal Writing may change your life as you learn to talk to yourself on the page and to write as a form of deep thinking. Diary/Journal-writing is at last coming out of the closet as a serious genre and work of art. Yes, journal/diary writing is an art! We will read theoretical work that places the journal/diary in that light, and examine diaries/journals by brilliant writers and artists who chose the form and shaped it. And we will write our own, using new strategies/prompts that take us out of our comfort zone and into the risks and thrills of art-making. We will celebrate diaries and journals as art as we learn their theoretical and conceptual complexities. “When the self speaks to the self, who is speaking?” Virginia Woolf queried; the journal form, open, experimental, with no rules-and with a complex narrative structure, cries out for experiment and analysis. We will dive deep into the top French theorist of the diary, studying Philip Lejeune’s On Diary, and reading at least three significant diaries/journals using a variety of conceptual frames. As we go, we will research and study the aesthetic, theoretical, and personal choices a diarist/journal/writer negotiates, and develop individual artist’s statements for our journals. Expanding our journal techniques and approaches, we  will write in response to dozens of prompts, and will workshop entries we select on occasion. Will we limit ourselves to words? No! Photographs add a brilliant burst of energy to the journal and may also serve as prompts. Collages and inclusions are welcome. We will incorporate art-inspired by a zoom art session with Consie Powell, artist of a dazzling array of writings she names “her books” rather than “journals.”  We will glean inspiration as well from several books on Art Journaling and learn how to do suminagashi (Japanese “floating ink” marbling) and Japanese stab bindings. This course is pre-approved for transcript notation in the Ingenuity in Action category, Creative Expression. To participate and earn notation of completion on your transcript, please complete the Ingenuity in Action application.  
    (Fine Arts)
  

  • ENG 220 - Nature Writing (1)

    A creative writing workshop focused on writing concerned with the environment and human relationships with the environment. Our focus will be on non-fiction and the lyric essay. Students will produce a range of creative works and will engage in thoughtful discussion and critique of peers’ work. We will also read widely in the tradition of environmental writers, including writers such as Rachel Carson, Aldo Leopold, Sigurd Olson, Annie Dillard, Barry Lopez, Terry Tempest Williams, and Gary Snyder to study techniques used by these writers. Offered in alternate or every third year.
    (Fine Arts)
  

  • ENG 230 - Caribbean Literature (1)

    This course offers the unique experience of studying Anglophone Caribbean literature in the Bahamas. We will study a range of genres, including poetry, fiction, and nonfiction, from a range of time periods and Caribbean islands. We will also treat the landscape itself as a text, “reading” the natural world and such sites as ruins and monuments to understand the environment and history of San Salvador island. Course topics may include the creation of national identity through literature, local writers and tourists responding to the environment, and writing from a postcolonial position. Prerequisite: Writing-designated course (W). Offered every third year. This course is pre-approved for transcript notation in the Ingenuity in Action category, Global Connections. To participate and earn notation of completion on your transcript, please complete the Ingenuity in Action application.
    (Humanities)
  

  • ENG 240 - Theatre, Architecture, and the Arts in Great Britain (1)

    A study of British literary, heritage, and theatre tourism. While reflecting on the history and present-day state of cultural tourism in the United Kingdom, students visit literary and historical sites in Scotland and England, attend a range of theatre events in Stratford-upon-Avon and London, and visit museums and galleries in London and beyond. Students will read travel writing and plays, keep an academic travel journal, and write several short papers. Team-taught in the United Kingdom. Registration entails additional costs. Prerequisites: Either a Writing-designated course (W), or one of the following: ENG 201 , ENG 202 , ENG 215 . Students must secure permission of instructor and have at least 2.0 GPA and be in good disciplinary and financial standing with the College. This course is pre-approved for transcript notation in the Ingenuity in Action category, Global Connections. To participate and earn notation of completion on your transcript, please complete the Ingenuity in Action application.
    (Humanities)
  

  • ENG 267 - Multicultural Literature (1)

    Jump into exciting books by writers from multicultural backgrounds to investigate such topics as the role of an author’s identity in literary study; how history influences individuals, families, communities, and nations; pilgrimages and migration; and other rich issues. You will have the opportunity to critically analyze literature through creative approaches and to teach your classmates about additional texts. Prerequisite: Writing designated course (W), ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities) (Intercultural Literacy Encounter)
  

  • ENG 271 - Video Games as Literature (1)

    As any avid gamer knows, the best games are the ones that offer us something beyond sexy graphics and exciting special effects. Whether you prefer isometric ARPGs, realistic FPS, or indie platformers with quirky characters, the reason we come back to play for hundreds of hours boils down to worldbuilding. The skills, weapons, armor, and quest items for each playable character have more of an impact on gameplay and on our experience of the game if they link in meaningful ways to that character and their backstory. For those who love an immersive gaming experience, the overarching narrative of the world itself can make a huge difference in continuing to entice our engagement. In this class, we’re going to combine significant amounts of gameplay with thought-provoking readings and casual writing projects to delve into how and why we can value the literary aspects of video games. We will cover topics ranging from what it means to be human, where our fears come from, or what kinds of bodies are valued to philosophical questions like the significance of choice, fate vs free will, and the ethics of violence. In doing so, we’ll also read a collection of short stories to draw direct comparisons between more typically “literary” forms of storytelling and games.
    (Humanities) (Writing Encounter)
  

  • ENG 273 - Topics: Archival Quests (1)

    Contemporary approaches to curating, preserving, and presenting knowledge have fostered a literary and artistic fascination with manuscripts, archives, book history, and old media. Archival Quests integrates the study of fiction and poetry that embodies the idea of the archive with hands-on exploration of practical and ethical questions involved in archival work. Literary readings may include Geraldine Brooks’s historical novel, People of the Book, Muriel Rukeyser’s groundbreaking documentary poem The Book of the Dead, or Claudia Rankine’s multi-media collection of lyric essays, Citizen: An American Lyric. Archival work will engage with twentieth-century publications of Cornell’s Hillside Press in Cole Library’s archives, the Sackner Archive of Concrete and Visual Poetry at the University of Iowa Libraries Special Collections, and/or the M. Horvat Collection of Science Fiction Fanzines, also at the UI Special Collections. Part literary seminar, part lab work in book history and book art, part individualized research tutorial, part workshop in textual editing and e-publishing, Archival Quests will culminate in the creation of a class digital archive publicizing short fiction and poetry from the Hillside Press chapbooks. Prerequisite: writing designated course (W) or ENG 201.
    (Humanities)
  

  • ENG 274 - Topics: Intersectional Creative Writing With New Media (1)

    Intersectional Creative Writing with New Media engages difference–such as race, gender, citizenship, sexuality, and identity–through audio, video, electronic literature, and new media creative writing. Students will learn about and write poetry, fiction, non-fiction through experimentation with digital platforms with a focus on race, gender, justice, and identity in the digital sphere. Students will also read “digitally informed” “traditional” texts such as Claudia Rankine’s Citizen and Theresa Hak Kyung Cha’s Dictee to further explore ways creative writing, new media, and social justice intersect on the page. This course will include rigorous reading, writing, workshopping, labs, special guest speakers, and field trips to better facilitate digital learning and creative writing. Through constructionist learning–learning through creating–students will engage in creative writing and digital media making grounded in dialogues of intersectionality in our digital age. Prerequisite(s): Writing-designated course or ENG 201 , ENG 202 , or ENG 215 .
    (Fine Arts)
  

  • ENG 275 - Topics: Digital Explorations of Mary Shelley (1)

    Mary Shelley’s speculative novel, The Last Man (1826), tells the story of a fictional pandemic, the result of a mysterious pathogen, from the perspective of humanity’s lone survivor. Although less well-known than Frankenstein, The Last Man-with its reflections on devastations wreaked by war, colonialism, disease and loneliness, alongside its celebration of humanity’s capacity for love-is arguably a novel for today. Students in this project-based course will study the novel and Shelley’s life in depth, while learning about new, digital-based ways of engaging with literature that even Shelley may not have dreamed possible. The culminating work will be a project that digitally showcases students’ discoveries about this remarkable piece of fiction. As an introduction to Digital Literary Studies, this course will interest students who enjoy reading literature and would like to develop new digital and quantitative literacy skills, as well as students already familiar with digital analytics, programming, or GIS who wish to learn more about literary studies. Prerequisite(s): Writing (W) course or ENG 201.
    (Humanities)
  
  
  
  

  • ENG 311 - Grammar and the Politics of English (1)

    An examination of the structures and forms which currently govern standard usage of the English language. Encompasses a broad view of grammar as a subject by a wide-ranging investigation of the history and development of the language. Examines the social and political implications of the development of English as a global language. Prerequisites: sophomore standing and a writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities)
  

  • ENG 317 - Advanced Poetry Writing (1)

    Advanced course in writing poetry. Students will study techniques, share work, and offer critiques. The course will also include the study of published poetry. Additional topics will include publication options, manuscript submission procedures, and resources for writers.

    This course is pre-approved for transcript notation in the Ingenuity in Action category, Creative Expression. To participate and earn notation of completion on your transcript, please complete the Ingenuity in Action application. Prerequisites: ENG 215  and sophomore standing. May be repeated once for credit. Alternate years.
    (Fine Arts)
  

  • ENG 318 - Advanced Fiction Writing (1)

    Advanced course in writing fiction. Students will study techniques, share work, and offer critiques. The course will also include the study of published fiction. Additional topics may include publication options, manuscript submission procedures, and resources for writers. Prerequisites: ENG 215  and sophomore standing. May be repeated once for credit. Alternate years.
    (Fine Arts) (Writing Intensive)
  

  • ENG 319 - Advanced Critical Writing (1)

    Advanced course in academic writing. In discussion, intensive workshops, and individual instruction, students will critically read and evaluate their own work and the work of their peers, as well as professional academic writers. In addition to writing several papers, students will substantially revise and expand the research for a paper they have written for a previous course. Students must bring to class on the first day a short paper they are prepared to further research and revise. The course will also give considerable attention to advanced information literacy and advanced writing style. This course is especially appropriate for students who intend to pursue graduate study or careers with a strong writing component. Prerequisites: junior standing and a writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
  

  • ENG 321 - Dante’s World-Building (1)

    Focusing on the first two canticles of the Divine Comedy, Inferno and Purgatory, we will read Dante’s most ambitious work as a cosmopoiesis, a political critique, and an artistic mosaic that evokes and integrates a host of literary, music, and art forms. How does a poet in exile develop a daring claim to prophetic and canonical status? Who were his poetic guides, models, and rivals? Prepare to ignite your verbal and visual creativity and to hone your analytical skills. Prerequisites: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . When offered off campus, the course entails additional prerequisites. Alternate years. No alternate grade option.
    (Humanities) (Intercultural Literacy Encounter)
  

  • ENG 322 - Shakespeare’s Rivals (1)

    Step into the theatrical culture of the English Renaissance: a culture fascinated by and frightened by racial, religious, gender, sexuality, and ethnic difference, a culture that adored books and was wary of them. Evaluate modern critical arguments about the political, civic, and ethical ends served by the theatre companies and playwrights who competed for audiences with Shakespeare’s company: among them the irreverent Christopher Marlowe, city wits Thomas Middleton and Thomas Dekker, dark-fantasy virtuoso John Webster. Breach the divide of the centuries to place these surprisingly relevant old plays in dialogue with the burning issues of our times. In this unorthodox class, you will collaborate in historical research and creative experiment, learn basic page design and letterpress printing skills, practice analyzing dramatic dialogue and performance, and develop the editing skills needed to help newcomers to these plays navigate their enticing contents. Prerequisite: writing designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years or every third year.
    (Humanities) (Writing Encounter)
  

  • ENG 323 - Shakespeare I: Comedies and Romances (1)

    Love and reconciliation, justice and power, the perils and profits of the imagination, friendship and marriage, control over women and ethnic Others, cross-dressing, dressing up, dressing down: these are some of the themes at the core of Shakespeare’s comedies and romances, some of which provoke more discomfort than laughter (hence the designation of several as “problem plays”). We will attend to Shakespeare’s finely wrought, playful, multivalent, and often irreverent language and to the ways in which performance choices bring out diverse, often contradictory, and uncannily relevant interpretations of the playtexts. Discussions, acting exercises, formal papers, and a final creative project, in which you will be challenged to interpret a short scene from one of the plays for a modern audience by reading closely and unleashing your creative imagination. Prerequisite: writing designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities) (Writing Encounter)
  

  • ENG 324 - Shakespeare II: Histories and Tragedies (1)

    Shakespeare’s “graver labor” brings to the stage love and betrayal, tragedy and humor, the elation and decay of political power. This is power writ large, as wielded and contested in royal courts, the Senate House of Rome, and on battlefields; it is also power performed and negotiated in daily circumstances, in alehouses and households. We will attend to the violent and sometimes gory action, but above all, to the multivalent and often irreverent language of the plays, as well as to performance choices that bring out diverse and even contradictory interpretations. Discussions, acting exercises, formal papers, and a final creative project, in which you will be challenged to interpret a short scene from one of the plays for a modern audience by reading closely and unleashing your creative imagination. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities) (Writing Encounter)
  

  • ENG 325 - The Sonnet (1)

    “Love is not love,” wrote Shakespeare in sonnet 116, and proceeded to grapple with the poetic expression of consuming erotic desire in a sequence of 154 sonnets. His contemporaries, Philip Sidney, Mary Wroth and John Donne, likewise contested existing cultural models of love and sexuality in ways you will find both familiar and strange. Reading and writing for this class will focus on difference - historical, linguistic, religious, class, gender, sexual - with the goal to develop a connection with the poems and their writers “not through identity but despite difference” (Kwame Appiah). Far from romanticizing the sonnet as expression of the universality of erotic desire, I’ll challenge you to explore the strangeness of this poetic form. Discussion, staged writing assignments, and play with book craft, including a hands-on introduction to letterpress printing on the college’s historical Washington press (1876). Prerequisite: Writing designated (W) course, ENG 201 , or ENG 215 . Alternate years or every third year.
    (Humanities) (Writing Encounter)
  

  • ENG 326 - Milton (1)

    This course will provide a deep and thorough engagement with John Milton’s epic poem, Paradise Lost. Attention will be given to the reading practices of early modern and post-modern audiences. Additional materials may include critical articles and other works by John Milton, like Comus, Samson Agonistes, or selections from his sonnets or prose works. The course will conclude with a consideration of contemporary uses for Milton’s epic. Prerequisites: writing-designated course (W), and ENG 201 , ENG 202 , or ENG 215 . Alternate years or every third year.
    (Humanities)
  

  • ENG 327 - Shakespeare after Shakespeare: Performance and Cultural Criticism (1)

    A study of Shakespeare’s plays as blueprints for performance, and of the historically and culturally diverse forms of Shakespearean performances on stage and screen, including Asian, East European, and other renditions. Focus on the relationship of performance to the processes of cultural formation and reflection. Students in the class engage in performance workshops and theatre and/or media production activities enabled by the Stephen Lacey Memorial Shakespeare Fund. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years or every third year.
    (Humanities) (Intercultural Literacy Encounter)
  

  • ENG 328 - The Global Eighteenth Century (1)

    The eighteenth century was an age of empire. Just as sailors, merchants, soldiers, and scientists ventured forth throughout the world in search of information and goods, so, too, did much of the globe make it back to England in some form or another. Whether it was spices from India, silk from China, gold from Africa, plants from America, or sugar from the Caribbean, material goods filtered back into Britain in a major way throughout the eighteenth century, inevitably altering the market, society, and culture. Through our readings, we will explore the intersections between Britain and the faraway places with which British authors and creators had contact - whether such contact was direct or indirect. We will read and process a variety of texts encompassing British authors, colonized authors, authors of color, and the literary traditions within which they wrote, often influenced by global and transnational contexts. The major course project is the production of a unique critical edition of a primary source text, including significant archival work and secondary research. Features archival visits and guest speakers. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years or every third year.
    (Humanities)
  

  • ENG 329 - Eighteenth Century Fiction (1)

    Examination of fiction written between 1660-1789. Discussion of the novel and the anti-novel using works such as Pamela, Joseph Andrews, The Female Quixote, Tristram Shandy, and Northanger Abbey. Some discussion of contemporary creative and critical responses to eighteenth-century fiction. Prerequisite: writing-designated course (W), or ENG 111-3 , ENG 201 , ENG 202 , or ENG 215 . Alternate years or every third year.
    (Humanities)
  

  • ENG 331 - British Literature of the Romantic (1)

    Demons, ghosts, vampires, and the indescribable monsters that stalk the night have appeared in literary and historical records reaching back to the earliest stories that humans began to tell one another. The eighteenth century and early nineteenth century did not invent any of these monsters, but they did shift the way the culture at large relates to them. With the rise of Gothic literature in England came a newfound appreciation for monsters: they were not only horrifying and dangerous but also appealing in oblique ways. They were terrifying precisely because they were attractive and evil. Gothic monstrosity was therefore suitable to be used for a variety of critical ends: to underscore fears of female sexuality; to represent anxieties about racial and ethnic Others; and to critique other religions. In this course, we will consume eighteenth and nineteenth-century Gothic texts alongside the modern stories inspired by their legacy. By comparing different generations of Gothic ideas-across multiple forms of media-we can tease out why Gothic thrills remain pleasurable and how they’ve been adapted for a contemporary readership with potentially subversive aims. Features archival visits and guest speakers. Prerequisite: writing-designated course (W),or ENG 111-3 , ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities)
  

  • ENG 332 - Queering the Restoration (1)

    Focusing on literature of the English Restoration, this course incorporates scandalous comedies, queer feminist dramas, domestic advice manuals and cookbooks, raunchy poetry, cross-dressing lesbian pirate stories, and more. The emphasis is on the expression of different gender roles for men and for women, deviation from expected norms (keeping in mind that our modern understanding of sexual “norms” with respect to the past is skewed), and gender-based rebellions that encompassed multiple models of sexual and emotional expression. We will also be reading literary criticism and theory to contextualize both the historical milieu and our conversations about gender. Course projects include producing personally-inspired texts like family recipe books, performing theatrical adaptations, modernizing comedies to accommodate 21st century sexual expression, and archival research. Features archival visits and guest speakers. Prerequisites: W course, ENG 201 , ENG 202 , or ENG 215 , or GSS 171 . Offered every third year.
    (Humanities)
  

  • ENG 333 - Victorian Literature (1)

    Poetry, novels, essays, and plays written between 1837 and 1901. May focus on a topic, such as the Victorian life cycle, political reform movements, or turn-of-the-century decadence. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities)
  

  • ENG 334 - Nineteenth Century English Novel (1)

    More than a hundred years before the rise of the World Wide Web, the nineteenth-century novel tried to encompass the world within its pages. High life and low life, the country and the city, aristocrats and vagabonds-so many people and places occupy the work of the major British novelists. Because life is short and nineteenth- century novels are long, we will not try to cram five or six books into a single block. Instead, we will read one long, multiplot novel: Vanity Fair, by William Makepeace Thackeray. The point is to slow down, to live inside the pages, to relish Thackeray’s satirical wit and his understanding of life during wartime and peace. Assignments include a creative response in the form of an adaptation of one chapter. Overall, this course is designed for any student who wants to gain a richer understanding of English literary history, the development of the novel, and the professionalization of authorship. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities)
  

  • ENG 335 - Virginia Woolf (1)

    How does Virginia Woolf, the iconic experimental writer of A Room of One’s Own, Orlando, To the Lighthouse and other brilliant texts, continue to shake up our world? How do her essays and novels transform our expectations of a novel-and transform us? As a writer, groundbreaking critic, and genius of pacifist and feminist thought, Woolf makes us think, makes us wonder, and dazzles us with her words. Each of her novels and essays re-invent writing, raising new questions and experimenting with new forms. How does she capture all of life in one day in London in Mrs. Dalloway? How does she turn questions into epiphanies about grief and creativity in To the Lighthouse? How does she rock gender expectations in her fantastical romp through history and convention in Orlando? The course is taught by a former President of the International Virginia Woolf Society who will share research videos of Woolf sites as well as oddball films from the London Film Society circa 1920s and 1930s. The course will invite quest speakers from the Virginia Woolf Society of Great Britain and the IVWS. We will play around with podcasts, art, and creative projects as ways to present our research, as well as traditional academic presentations and papers. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities) (Intercultural Literacy Encounter) (Writing Encounter)
  

  • ENG 336 - Early Twentieth Century Literature (1)

    What was it like to live, love-and write-through WWI and its aftermath? What happened to literature and art as a result of that debacle? How did expatriate Americans in London and Paris, including African Americans, as well as British and French participants reinvent writing and invent film to grapple with the traumas and challenges to the end of culture as they knew it? H.D., Imagist poet, offers her lyrical and haunting memoir in Bid Me to Live. Hemingway shapes a fragmentary estranged world in In Our Time; Rebecca West in The Return of the Soldier, the French film director Abel Gance in J’accuse (filmed with soldiers on the front), and Richard Aldington in a searing faux journal witness the chaotic psychological wounding of soldiering and shell-shock. Virginia Woolf in Mrs. Dalloway and D. H. Lawrence in his paintings and in Lady Chatterley’s Lover portray the ongoing aftershocks of war and trauma and efforts to re-embrace life and love. Fire!!, the 1926 journal of the Harlem Renaissance, along with revealing articles of the day portray the heroism–and homecoming betrayals of–black soldiers leading to the Great Migration to Harlem, and explore the racial dynamics of expatriate Paris. We will screen key films: J’accuse, The Big Parade and others and examine paintings from the war zone. We’ll examine Trench newsletters, women in the war effort, and the concept of the “Temporary Officer/Gentleman” that emerged when the average life span of a Lieutenant at the front was only three months and speedy promotions were needed from the rank and file. Research projects may take shape as podcasts, broadsides, or other creative projects in addition to papers. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities)
  

  • ENG 343 - The American Renaissance (1)

    Literary and cultural trends in the early- and mid-nineteenth century with attention to Transcendentalism, Melville’s Moby-Dick, and philosophical contradictions within the period. Authors in addition to Melville may include Emerson, Thoreau, Fuller, Douglass, and Alcott Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Offered every third year.
    (Humanities)
  

  • ENG 345 - Late Nineteenth Century American Literature (1)

    Can books change the world? During America’s “Age of Reform,” many authors believed texts could be agents of reform. The late-nineteenth century was also the age in which many authors turned away from Romance and toward Realism, because the “real” world needed to be represented before it could be seen and altered. This course focuses on the relationship between social reform and literary genre. We will interrogate authors’ theories about the functions of literature in relation to civic reform as well as the specific reform movements they wrote about and within. We will read critiques of social ills as well as critiques of reformists themselves. Class discussions will focus on authors’ models of reform, including the sometimes-problematic relationships between the reformers and those people ostensibly being helped. Many of the texts we will read are among the most well-known - and best-selling - in their own time; we will research the effects these works had both on their societies and on literary history.  This course also counts toward the “Efforts to Address Societal Issues” requirement for the Civic Engagement minor. One of our course goals, then, is to apply the study of literature to our engagement with our own world, and we will be exploring the ways nineteenth-century questions are addressed in social justice endeavors of our own time through field trips as well as meetings with contemporary writers, activists, and/or descendants of our writers. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities) (Intercultural Literacy Intensive)
  

  • ENG 347 - Wilderness and the Arts (FEE) Taught at the Boundary Waters (Wilderness Field Station, Minnesota) (1)

    The class will immerse in the glorious September outdoors at the somewhat primitive Field Station on Low Lake up by the Boundary Waters of Canada/Minnesota, and thoughtfully consider conventional concepts of the wilderness in our culture as we challenge and broaden those frames to incorporate art and meditation. We canoe, make art, write wilderness journals, read and discuss literature, contemplate paintings–from the Pictographs on the cliffs within the Boundary Waters to vibrant forest paintings and journals of Emily Carr. Absorbing Braiding Sweetgrass by indigenous scientist writer Robin Wall Kimmerer, we cultivate awareness of our own encounters with the wilderness and the artworks about the wilderness that we study. We read fiction and poetry in the wild, keep journals/portfolios of projects involving writing, literature, meditation, and photography. As we encounter photography by Tokihiro Sato, Jim Brandenberg and Daido Loori, we will deepen and enrich our own photographic practice, and create our own photo-essay journals. The class will learn to do Japanese suminagashi, floating ink marbling, and make journals using Japanese stab binding. Open to seasoned campers & neophytes. We are all wildly able. (FEE)

    Registration entails additional costs, estimated $500. Prerequisite: writing (W) course, ENG 201 , ENG 202 , or ENG 215 . This course is pre-approved for transcript notation in the Ingenuity in Action category, Civic Engagement. To participate and earn notation of completion on your transcript, please complete the Ingenuity in Action application.
    (Humanities) (Intercultural Literacy Encounter)
  

  • ENG 350 - American Nature Writers (1)

    Study of writers who share a concern with human relationships with nature, landscape, and the environment. Authors may include Muir, Leopold, Dillard, Carson, Abbey, and Krakauer. Prerequisite: writing (W) course, ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities)
  

  • ENG 351 - The Slave Narrative (1)

    This course explores the U.S. slave narrative genre and its complicated literary-historical context. Our investigation will be broad: we will study “famous” slave narratives that have defined the genre as well as lesser-known narratives that push the boundaries of the genre; we will study antebellum as well as post-bellum narratives; we will study both men and women’s slave narratives; and we will study narratives written by formerly enslaved people themselves as well as narratives written with or about them. Several themes will be important to our course: writing and publication context; representation and absence; and exceptionalism and representativeness. This course counts toward group iii (19th-century) of the English major, toward the Ethnic Studies major, and toward the GSS major. Prerequisite: writing (W) course, ENG 201 , ENG 202 , or ENG 215 . Alternate years or every third year.
    (Humanities) (Intercultural Literacy Intensive)
  

  • ENG 352 - Novel Writing (NaNoWriMo) (1)

    National Novel Writing Month (NaNoWriMo) challenges writers to produce a draft of a novel in a single month’s time. This creative writing course will adopt some of the tenets of NaNoWriMo, privileging generation over revision at the early stages of the writing process and providing “structure, community, and encouragement.” In addition to producing a significant portion of a novel draft through ambitious daily word count goals, students will be introduced to the work of contemporary novelists; will reflect on the literary traditions influencing their novels; and will explore a variety of writing processes. Open to students with previous experience writing fiction and an idea for a novel to begin on day one.

    This course is pre-approved for transcript notation in the Ingenuity in Action category, Creative Expression. To participate and earn notation of completion on your transcript, please complete the Ingenuity in Action application. Prerequisites: ENG 215  and sophomore standing.
    (Fine Arts) (Writing Encounter)
  

  • ENG 361 - Modern Poetry (1)

    Study of experimental poetic trends in the first half of the twentieth century. Poets may include Eliot, Stevens, Williams, Stein, Loy, Millay, Hughes, and H.D. Prerequisite: writing (W) course, ENG 201 , ENG 202 , or ENG 215 . Offered every third year.
    (Humanities)
  

  • ENG 363 - Contemporary Fiction (1)

    Intensive look at recent and experimental developments in fiction as represented by writers such as Sherman Alexie, Leslie Marmon Silko, Maxine Hong Kingston, Don DeLillo, and Tim O’Brien. Prerequisite: writing (W) course, ENG 201 , ENG 202 , or ENG 215 . Offered every third year.
    (Humanities)
  

  • ENG 364 - Contemporary Poetry (1)

    Study of poets whose work has come to prominence since 1950 and an overview of contemporary poetic trends in America. Poets may include Lowell, Ginsberg, Ashbery, Rich, Plath, Olds, and Graham. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Offered every third year.
    (Humanities)
  

  • ENG 365 - Comparative Literature and Cinema (1)

    Investigating some of the multi-faceted connections between literature and film, this course may focus on a topic such as the investigation of transatlantic avant-garde film and the “little magazines” or film societies and literary coteries of the early twentieth century. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities) (Intercultural Literacy Intensive)
  

  • ENG 368 - The Harlem Renaissance in Jazz, Poetry, Art, Fiction, Nightclubs, and Film (1)

    The Harlem Renaissance of the 1920s and 1930s was a dazzling moment in cultural history: a time when African American culture exploded with vibrant and compelling creative work in the visual arts, literature, jazz, blues, and more. We will explore this cultural phenomenon, beginning with the journal FIRE!! reading Zora Neale Hurston, Langston Hughes, and many more, while watching Jazz shorts and studying artworks from the time. This course counts toward group IV (20-21st century) of the English major, toward the Ethnic Studies major, and toward the GSS major. Prerequisites: Writing designated course (W), ENG 201 , ENG 202 , or ENG 215 . Every third year.
    (Humanities) (Intercultural Literacy Intensive)
  

  • ENG 370 - AIDS Literature, Film, and Social Theory (1)

    Study of the historical emergence and consequences of HIV/AIDS through memoirs, novels, plays, documentary and feature films, and essays. In evaluating the way literature shapes our understanding of HIV and AIDS, we will explore pertinent issues of race, gender, nationality, and sexual identity. May include service learning component with required field trips. This course also counts towards the GSS major. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Offered in alternate years or every third year.
    (Humanities)
  

  • ENG 371 - Literary Theory (1)

    Survey of literary theories with emphasis on the second half of the twentieth century through the present. Theories considered may include Narrative Theory, Feminist theories, Reader-Response Theory, New Historicism, Postmodernism, and Cultural Studies as well as newer approaches. Recommended for students who may be interested in pursuing graduate studies in English. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years.
    (Humanities)
  

  • ENG 372 - Film and Film Studies (1)

    The study of films as artistic and cultural texts. The focus may be on the study of an individual director, Hitchcock, or a broader topic, such as Women Directors, or a particular period in film history, such as Avant Garde Films of the 1920’s and 1930’s. See Topics Courses  for expanded current course description. (This is not a film production course.) Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 . Alternate years or every third year.
    (Humanities) (Writing Encounter)
  

  • ENG 374 - Advanced Topics: Fan Fiction (1)

    This course offers an historical study of what we now call “fan fiction.” Although typically defined by its oppositional relationship to copyright and its rootedness in a post-print literary sphere, the adaptive tendencies in Western literary history from Classical Rome onwards have inspired contemporary fandom studies. Building upon Anna Wilson’s recent work defining fan studies in an early modern context, this course proposes to examine a series of literary texts that exhibit one or more of the theoretical axes upon which Wilson builds her metric for studying fan fiction in a transhistorical context: poaching, transformation, and affect. By combining pairs of texts (potentially including: Hamlet and Rosencrantz and Guildenstern are Dead; Jane Eyre and Wide Sargasso Sea; and Sense and Sensibility and Sense and Sensibility and Sea Monsters, although not all of these) with evidence of what David Brewer calls “imaginative expansion” from the adaptive literary culture of the eighteenth and twenty-first centuries (potentially including portions of Paradise Lost, the many awful attempts at Tristram Shandy copycats, the textual and visual “sequels” to Gulliver’s Travels, and contemporary examples of the irrepressible culture of Jane Austen adaptations, modernizations, and re-imaginings, including the movie Clueless). As part of the theoretical grounding of the course, we will also discuss the nature of post copyright literary creation and its contrast to premodern fandoms, the shift from an exclusively print culture of fan fiction to an exclusively digital one, the complicated valorization of fan fiction writers as embodying an anti-capitalistic Robin Hood-type figure, and the demographics of the current fan fiction community, which is overwhelmingly white, female, trans, non-binary, and queer. Prerequisite(s): Writing-designated course (FYW), or ENG 201 , ENG 202 , or ENG 215 .
    (Humanities)
  

  • ENG 380 - Internship (1)

    Diverse internship options may include writing and editing in the commercial world, such as working for a newspaper, a magazine, a publishing house, or another communications medium. See Additional Academic Opportunities , All-College Independent Study Courses 280/380. Prerequisite: writing-designated course (W), or ENG 201 , ENG 202 , or ENG 215 .
    (CR)
  

  • ENG 381 - Advanced Topics: New Media Writing and Hybrid Forms (1)

    In this contemporary moment, in this digital world - with the increasing accessibility of language, the increasing hybridity of language - is language more vulnerable or is it more alive? In this course, we will consider what it means to use new media writing and language as a form of resisting sterile spectatorship. Together we will develop annotated chapbooks, our own interactive zines, online scavenger hunts, installed audio visual essays, and more. Though we will cover acres of ground in both our own work and the work of others, we will stay anchored to the central question of what work each work is trying to do. How is the language alive, how is it making use of form to produce activity, change, conversation - and what is our role in this.
    (Fine Arts)
  

  • ENG 383 - Advanced Topics: Novel Writing (NaNoWriMo) (1)

    National Novel Writing Month (NaNoWriMo) challenges writers to produce a draft of a novel in a single month’s time. This creative writing course will adopt some of the tenets of NaNoWriMo, privileging generation over revision at the early stages of the writing process and providing “structure, community, and encouragement.” In addition to producing a significant portion of a novel draft through ambitious daily word count goals, students will be introduced to the work of contemporary novelists and will reflect on the literary traditions influencing their novel. Open to students with previous experience writing fiction and an idea for a novel to begin on day one. Pre-requisite: ENG 215  and sophomore standing.
    (Fine Arts)
  
  
  

  • ENG 411 - Senior Seminar (1)

    Advanced, theoretically informed engagement with literary studies, broadly defined, including reflection on what the English major brings to intellectual and creative life beyond the undergraduate years. See Topics Courses  for current topics and course descriptions. Prerequisites: English major and senior standing.
    (Humanities)
  

  • ENG 412 - Senior Project in Creative Writing (1)

    This course serves as the second half of the capstone experience for students completing the English major’s creative writing concentration. Students will work independently on a creative writing project started in previous workshops, meet independently with the instructor to discuss their progress and work on successive drafts, and meet with other students for an intensive workshop of projects. Students will also work with the instructor to create, complete, and discuss a reading list relevant to their project. The goal is to produce work for publication and/or public performance. The Senior Project Workshop will be conducted as a combination of workshop with other course members, independent study, and one-on-one mentoring. The block will also include professional training in the submission and publication process as well as graduate school and careers in writing.

    This course is pre-approved for transcript notation in the Ingenuity in Action category, Creative Expression. To participate and earn notation of completion on your transcript, please complete the Ingenuity in Action application.
    (Writing Intensive)
  

  • ENG 413 - Senior Project in Critical Writing (1)

    This course serves as the second half of the capstone experience for students completing the English major’s concentrations in Literary Studies and in Film and Literary Studies. Students will work independently to develop a project proposed in ENG 411  into a theoretically informed research thesis of substantial length. The goal is to produce work for public presentation or for publication in an undergraduate journal or comparable venue. The course will also include professional training in the processes of conference and publication submission and review. The Senior Project Workshop will be conducted as a combination of workshop with other course members, independent study, and one-on-one mentoring.
    (Writing Intensive) (Writing Intensive)
  
  
  

  • ENG 510 - Introduction to Book Arts (1/4)

    The course will introduce participants to the field of book arts, including page design, letterpress, typesetting, printing, and book construction through demonstrations and hands-on experience. Sessions may also include field trips to libraries and museums, fine presses, and/or Book Studies Programs. To earn credit, students must complete four sessions and all homework, including a culminating project. A complete schedule of workshops and fieldtrips will be distributed at an informational session to be held at the beginning of the academic year. Prerequisite: permission of instructor.
    (CR)
  

  • ENG 715 - Literature in Action: Editing (1/4)

    Serving in one of the supervisory positions for the English Department literary magazine Open Field (or similar magazine): Editor, Assistant Editor, Web Editor, Art/Design Editor. Participation must be supervised by a member of the Department and the work carried out within a single semester. May be repeated for credit. This course is pre-approved for transcript notation in the Ingenuity in Action category, Professional Exploration. To participate and earn notation of completion on your transcript, please complete the Ingenuity in Action application.
    (Fine Arts) (CR)

Environmental Studies
  

  • ENV 101 - Environmental Perspectives (1)

    An interdisciplinary examination of the interplay between the artistic, social and scientific components of modern environmental issues. Not open to juniors or seniors.
  

  • ENV 201 - Environmental Biology (1)

    Investigation of the fundamental biological principles underlying how humans and other living things interact with an environment increasingly altered by human activities. These principles will be applied to understanding and seeking practical solutions to modern environmental problems. Prerequisite: ENV 101  or any science credit. Alternate years.
    (Laboratory Science)
  

  • ENV 202 - The Chemistry of Natural Waters (1)

    This course introduces some of the fundamental concepts used for understanding the chemical processes occurring in the environment. Topics covered will include: chemical bonding and structure; cycling of chemical substances and elements in the atmosphere, oceans, and soils; the chemistry of atmospheric and water pollution; chemical analysis of environmental samples. This course cannot be used to satisfy course requirements in the chemistry major. Offered as an off-campus course in alternate years which incurs additional costs. Prerequisite: ENV 101  or any science credit.
    (Laboratory Science)
  

  • ENV 280 - Internship in Environmental Studies (1)

    Working with a business, government agency, or other institution under the direction of the organization’s leaders and a faculty supervisor. See Additional Academic Opportunities, All-College Independent Study Courses 280/380.
  
  
  

  • ENV 380 - Internship (1)

    See Additional Academic Opportunities , All-College Independent Study Courses 280/380. Prerequisites: junior standing; at least one of the three required 300-level courses; approval by the participating institution, the faculty supervisor, and the Environmental Studies advisor.
    (CR)
  
 

Page: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 -> 13