English 150.001
MWF 10:00-10:50 a.m.
The Study of Literature
Spanning Generations: Literature That is Relevant Then and Now
Rebecca Hooker
So what's the big deal with literature, anyhow? Why bother to read those old books anymore; they don't mean anything these days, do they? This course is designed to answer all those questions, and to help you apply those "old books" to your everyday lives. The world may change, but people do not. Technology and scientific advances do not change human nature. History repeats itself, and people live, love, fight, and die, just as they did when the "classics" were written.
In this course, we'll investigate some of the major themes of literature, in both their classical and contemporary forms. We'll see how modern and contemporary writers have taken themes, ideas, and sometimes the stories themselves and made them into something we all recognize. Through pairings of older and newer texts, we'll investigate the universality and timeless nature of literature.

English 150.002
MWF 2:00-2:50 p.m.
The Study of Literature
Staff
This course is an introduction to the study and appreciation of literature for non-English majors. Students will see how understanding writersÕ techniques increases the enjoyment of literature, and participate in the recognition, analysis, and discussion of important literary themes.

English 150.614
MW 1:00-2:15 p.m.
The Study of Literature
John Crawford

English 150.221 (Hewlett Cluster: Restricted enrollment)
TTh 9:30-10:45 a.m.
The Study of Literature
Darwin's Legacy: The Theory and Controversy of Evolution in Science, Culture, and Society
Gary Harrison
This course is part of the interdisciplinary Hewlett Cluster series, which brings together three classes-in the Humanities, the Sciences, and the Social Sciences-to examine a common theme or topic. In this case, the topic is Darwin's theory of evolution and its impact upon culture and society. In the literary component of this course, we will examine the way Darwin's groundbreaking The Origin of Species (1859) influenced the literary imagination of the English-speaking world, beginning with late Victorian literature and moving up through contemporary fiction, science fiction, and drama. To place Darwin's theories in a historical context, we will read the Genesis account of creation and sections of Ovid's Metamorphoses. To get a sense of Darwin as a literary stylist drawing upon earlier traditions of nature writing, we will read selections from Gilbert White's Natural History of Selbourne and Thoreau's Walden, as well as Darwin's Origin of Species and Voyage of the Beagle. Finally, to follow his impact upon the literary imagination of the nineteenth and twentieth centuries, we will read works by Alfred Lord Tennyson, Matthew Arnold, H.G. Wells, Phillip Dick, Cathleen Schine, and Roger McDonald, as well as view films such as Gattaca and Blade Runner. Some field trips involving the Anthropology component are also planned. Students must also enroll in the sections of American Studies 183 and Anthropology 201 designated as part of the Hewlett Cluster.

English 211.001
TTh 11:00 a.m.-12:15 p.m.
Eighteenth-Century Theater in Performance
Carolyn Woodward
The eighteenth century was the great age of theatrical entertainment, for in a typical London evening, one might first enjoy a fiddler prancing across the stage, after which the curtain would open onto a five-act "heroic" tragedy, or a ballad opera (the first musical comedy), or a sentimental "comedy" for which one needed at least five hankies. This five-act play would itself be punctuated by an "interlude": perhaps a high-wire act? or a baroque ballet? or Italian greyhounds doing tricks on their hind legs? And the evening wouldn't end at the conclusion to the main play, for then would follow a short after-piece, for example, an outrageous political farce (the great-grand-daddy of Saturday Night Live?) or something sweet and pastoral. We'll study the development of theater during this time and read several eighteenth-century plays and engage with them in readers theater, that is, acting with scripts in hand. (No prior experience is necessary in this informal method of bringing plays to the stage.) Using props and costumes that range from a pink prom dress and a black bustier to a collection of eighteeth-century pistols, writing quills, tavern pipes, and K-Mart wigs, we'll have lots of fun creating our own theatrical illusions and, as well, learning something about the literature and culture of another time and place. Texts include: plays by John Dryden, Eliza Haywood, Henry Fielding, John Gay, David Garrick, Kitty Clive, Frances Sheridan, and Richard Brinsley Sheridan. Requirements include frequent short writing assignments, reading aloud, readers theater.

English 211.003
MWF 11:00-11:50 a.m.
Edmund Spenser
Cheryl H. Fresch
In this preliminary course on Edmund Spenser (1552-1599) we will read, discuss, and write about Spenser's shorter poems, especially the sonnets, through the first half of the semester. We will also turn to a variety of group presentations on social history, politics, religion, and the arts to situate Spenser and his poetry within the context of Elizabethan England. The second half of the semester will be devoted to The Faerie Queene, Spenser's epic. Weekly writing assignments and/or presentations will continue through the end of the semester.

English 219
Technical Writing
219.001 MWF 0900-0950 Staff
219.002 MWF 0900-0950 Staff
219.003 TTh 1230-145 S. Rode
219.004 TTh 0800-0915 S. Rode
219.005 MWF 200-250 V. Thomas
219.006 MWF 200-250 Staff
219.007 S 1045-115 Staff
219.008 MWF 1100-1150 L. Greene
219.009 MWF 800-850 Staff
219.010 MWF 200-250 Staff
219.011 MWF 200-250 P. Bogard
219.012 MW 530-645 pm Staff
219.013 MW 530-645 pm M. O'Brien
219.014 TTh 0930-1045 M. Ninneman
219.015 TTh 800-915 Staff
219.016 TTh 1100-1215 S. McCabe
219.017 MWF 100-150 P. Thomas
219.018 TTh 400-515 M. Mara
219.019 TTh 400-515 pm M. Rooks

In this course, students will learn and practice various communication strategies and genres of technical writing. We will pay particular attention to the composition and design of larger documents like manuals, reports, and proposals. We will also compose and design smaller documents like memos, letters, descriptions, and instructions. To sharpen rhetorical skills, we will practice interpreting writing situations in the technical workplace; then, we will use strategies of audience-analysis, organization, style, and page layout to develop documents that address those rhetorical situations. Whenever possible, students will have the option to compose documents that suit their major or future discipline. This course is designed for students who want to study technical writing as part of their career preparation in engineering, business, social service, science, or other technical fields.

English 220.001
MW 7:00-8:15 p.m.
Expository Writing
Michael Moghtader
This section of advanced composition is designed for the student who feels powerless in the face of serious writing, in the face of long and complicated texts. It is for the student whose thinking of reading and writing boils down to little more than an obsessive hunt for some meaning that's squirreled away in a text, waiting to be flushed out of the symbolic packaging of some textual form so that it can be stuffed and hung on the wall of a term paper. Students will learn how reading and writing can be much more than this. To the thinking writer, reading can be a generative activity, where the index of learning lies in one's ability to do things with text. While it will be important for students to pay generous attention to what they read-to give in, to think with someone else's words-it will also be important for students to feel what it is like to step outside a text, in order to ask questions about where it might lead, what it leaves out, and whose interests it serves and why. Expect plenty of both informal and formal writing assignments that engage some challenging texts.
Texts: Ways of Reading: An Anthology for Writers (5th ed.), by David Bartholomae and Anthony Petrosky; Oleanna, by David Mamet

English 220.002
TTh 11:00 a.m.-12:15 p.m.
Expository Writing
The Personal Essay
Gregory Martin
Philip Lopate, in his introduction to The Art of the Personal Essay, says: "The hallmark of the personal essay is its intimacy. The writer seems to be speaking directly into your ear, confiding everything from gossip to wisdom." In this course, the first in the Creative Nonfiction sequence, we will explore the personal essay in its many forms. We will write about our own lives and experiences and memories, our own quirks of personality and strange notions, attempting to give them shape and structure and design. Because this class is a creative nonfiction class, we will explore the boundary between truth and invention. The class should help you to begin building an understanding of prose craft and technique, and we will focus on the development of the "habit" of art, emphasizing process more than product. My hope is that you will also become better readers, and this, in turn, will raise your standards for your own work and for your peers. Finally, I hope to debunk the myth of the artist. We all can participate in the making of art.
Texts: The Art of the Personal Essay (Philip Lopate, editor); Best American Essays 2001

English 220.003
MWF 12:00-12:50 p.m.
Expository Writing
Pascale Fagerstrom
Language is undeniably a part of every society on Earth, but how does it differ throughout various societies and culture groups? Do the groups reflect the language, or does the language reflect the group? This course explores the relationship between language and culture--or culture and language--and how we interpret society. We will examine how language is not only a means of communication, but also a carrier of culture. We will discuss what language is, how it is acquired as part of our genetic makeup, how it develops through social, interpersonal, and cultural interactions, and how we use it. We will explore the different uses of language, beginning with oral traditions and making our way to the role that language plays in contemporary writing. We will further discuss the role of language use in social and political realms. Readings will be comprised of folklore, fiction, and various non-fiction genres, and theory. Authors may include George Orwell, Terry Tempest Williams, Mark Twain, Aldous Huxley, Noam Chomsky, and more . Students will be encouraged to explore their own language use. Writing assignments will include several short response papers, a journal, two formal papers, and a final project.

English 220.004
TTh 2:00-3:15 p.m.
Expository Writing
Miriam Mara
Do you like to eat? In this section of Advanced Expository Writing we will explore different forms of writing in the context of a large theme: food. Students will read essays, fiction, scientific works, and more popular texts like cooking magazines in an attempt to identify, critique, and create a wide range of writing strategies. By exploring the many ways to think and write about food such as a medical focus on nutrition, or political concentration on distribution of resources, or a sociological emphasis on how food choices reflect the norms of a culture, we can begin to find ways to use the writing strategies these texts employ in our own writing. We will study writing as an exercise we use every day, not just in the classroom, so that we can create more vivid prose, make more convincing arguments, and *gasp* even learn to enjoy writing. Assignments may include a reading journal, formal essays, and a restaurant review.

English 220.005
MWF 10:00-10:50 a.m.
Expository Writing
Cult Fictions: Literature, Movies, and Music Outside the Mainstream
Stephanie Gustafson
This course will explore three main genres of "cult fiction": science fiction/fantasy, horror/grotesque, and hard-boiled detective fiction. We will also look at examples of music from groups with cult followings such as The Grateful Dread and Phish. Students will watch movies or read fiction from each genre, and use class discussion to examine the characteristics of each genre. Then, as a class we will define "cult fiction." What characteristics does a text have to embody to be considered "cult fiction"? Who decides which texts fit the category ? Is it the audience's interest in, reaction to, and enthusiasm for the material that makes it "cult fiction"?
Students will answer these questions using a variety of sources including novels, short stories, movies, poetry, newspapers, documentary, and historical texts. Students will watch films such as Blade Runner, Carrie, Interview with a Vampire, Tank Girl, and The Big Sleep. Students will read fiction by Kathy Acker, Angela Carter, Raymond Carver, William Faulkner, Frank Kafka, Jack Kerouac, Flannery O.Connor, and more.

English 221.001
MWF 10:00-10:50 a.m.
Creative Writing: Prose Fiction
James Barry
Can fiction writing be taught? That's what everybody wants to know about a workshop. But that's beside the point. The important thing is that fiction writing can be learned. On one hand there are discrete skills a student of writing has to practice: dialogue, description, dramatic structure. But another way of looking at it is that there is only one skill: to read what you've written as other readers might, and to know as you're writing when the story works. For this reason, reading and writing are equal parts within the workshop, inseparable as breathing in and breathing out. You'll learn craft from weekly readings of published prose, the stories of other students, and from the composition and revision of your own work. The goal is not to learn writing from scratch, but to recognize what you have already written well and from there to extend your capability. If you are nervous about revealing your writing, good, but don't let that hold you back. Assignments will include one piece of fiction written for the workshop, along with a significant revision; a number of short, focused exercises; and critiques of others' stories.

English 221.002
TTh 2:00-3:15 p.m.
Creative Writing: Prose Fiction
What We Talk About When We Talk About Writing
Jody L. Ipsen
Jay McInerney, novelist, asserts that Raymond Carver, author of What We Talk About When We Talk About Love, influences writers through realism. According to McInerney, Carver seems to be saying that, "literature could be fashioned out of strict observation of real lifeeven if it was lived with a bottle of Heinz ketchup on the table and the television set droning." Paradoxically, the great short story writers write about what they know to be true of the human condition. Therefore, this course will be tailored toward our personal experiences; moreover, we will take these experiences and fashion them into fiction through the use of dialogue, setting, plot, point of view, and thematic strands. These strands create a tapestry of unifying events, unraveling a short story that is both engaging and reflective of craft.
Our main text will be Creating Fiction (Leebron & Levy) and we'll examine the great inventors of the short story like Hemingway, O'Connor, Chekhov, Chopin, Walker, O'Brien, and Tolstoy. We will address short story contests, and briefly discuss the Writer's Market. We will complete one full-length story, and other writing exercises to aid us in the development of dialogue, characterization, setting, and plot.

English 221.003
MWF 1:00-1:50 p.m.
Creative Writing: Prose Fiction
Jana Giles
"Art washes from the soul the dust of everyday life." --Picasso
Expressing our creativity can be one our most satisfying experiences; equally satisfying, although usually more challenging, is learning to shape that expression into a more refined art. We will use this intermediate-level workshop to explore the role of fiction in our lives and the world around us, and to practice the craft of literary fiction. We will refine our skills of observation, and do exercises intended to sharpen the use of character, dialogue, plot, setting, and other aspects of storytelling. Students will write and revise one or two short stories for the workshop. Also required will be a short analytic paper and presentation on one novel or a collection of short stories from a list of recommended titles. This should be a demanding but fun class; come prepared to read and write a lot, share your work and opinions with others, and enjoy rigorous critiques. Required texts are Janet Burroway's Writing Fiction: A Guide to Narrative Craft, and Anne Lamott's Bird by Bird.

English 221.004
W 7:00-9:30 p.m.
Creative Writing: Prose Fiction
Marc Barrington
In this class, we will address the basic elements of writing such as character, setting, scene, and dialogue. How do these essential components come together in a cohesive form? How do writers use these elements successfully to develop a story? How does a writer develop a certain tone, or atmosphere, a style, or a voice of his or her own? We will look to a variety of successful writers and use their works to provide a context for discussing the craft of writing. In addition, we will write. And write more. We will familiarize ourselves with workshop protocol and apply what we have learned to each other's stories in a workshop environment.
The goal of the class is for students to become more proficient in the rudiments of writing, those elements that make up prose fiction.

English 221.005
TTh 11-12:15
Creative Writing: Prose Fiction
Kate Fitzgerald
Flannery O'Connor wrote, "Art is the habit of the artist; and habits have to be rooted deep in the whole personality. They have to be cultivated like any other habit, over a period of time, by experience; and teaching any kind of writing is largely a matter of helping the student develop the habit of art." Just as the student of drawing learns by studying the works of master artists and practicing the techniques of perspective, foreshortening, light and shadow, so the student of writing learns by studying the works of master writers and practicing the elements of fiction such as character, point of view, plot, setting, and dialogue. Great stories evolve from good ideas; but it is the skill with which stories are told that makes them true works of art.
In this course we will read works by masters of the short story form (Chekov, Kafka, O'Connor, Baldwin, Marquez, and Dubus, to name a few) and explore the elements that make them work. Exercises geared towards specific writing components will help equip you with the basic tools you will need to become a skilled writer. Workshops will provide you with feedback on your writing and will help you in your goal to revise and polish one short piece of fiction by the end of the semester.

English 222.001
MWF 11:00-11:50 p.m.
Creative Writing: Poetry
Staff

English 222.002
TTh 11:00-12:15 p.m.
Creative Writing: Poetry
Tani Arness
This introductory poetry workshop will focus on reading, discussing, and writing poetry. The class will examine various poetic forms and techniques to help build a foundation for effectively communicating ideas, images and voice on the printed page. In class, we will read a variety of contemporary poets and workshop rough drafts of our own poems. Along with learning to recognize and use poetic elements (such as image, and rhythm), we will have in-class writing exercises to help us explore processes in creating what poet Marianne Moore defined as "imaginary gardens with real toads in them."
Course requirements will include reading, writing and workshopping as well as written critical responses to poetry and attendance at poetry readings. There will be one required "Intensive Writing Week" where students will write, write, and write some more as a way of pushing beyond some of our writing perimeters. The semester will culminate with a portfolio of eight to ten revised poems including an introductory statement about your own work. This is a course for those who want to seriously study poetry as readers, writers and lovers of language.

English 222.003
MW 5:30-6:45 p.m.
Creative Writing: Poetry
Staff

English 240.001
MWF 9:00-9:50 a.m.
Traditional Grammar
Jerry Shea
This is a course in the basics of traditional grammar--syntax, tenses, parts of speech, transformations, and so forth. Grammar is the bones of writing (as rhetoric is the flesh), so we shall become chiropractors, osteopaths. Requirements include exercises, a series of tests, possibly some extra credit work. Text: Kolln and Funk, Understanding English Grammar, 6th ed.

English 240.002
TTh 2:00-3:15 p.m.
Traditional Grammar
Rebecca Chalmers
This course explores the basic grammatical forms that provide skeletal support for the English language. After a brief review of basics, we will study the specific structures that allow us to form syntactically workable sentences. Bit by bit (or bone by bone) we will put together the component parts of the composite whole: parts of speech, tenses, phrases, clauses, transformational grammar(s). In other words, we'll explore how we begin to make sense of and convey ideas through a bunch of symbols on a written page. In addition to homework and routine quizzes on grammar concepts, students will present a project and take both a midterm and final exam.

English 240.003
TTh 7:00-8:45 p.m.
Traditional Grammar
Staff

English 250.001
TTh 9:30-10:45 a.m.
The Analysis of Film as Literature
Hector Torres
This course introduces students to issues in the analysis of literature using film. We begin with Shakespeares's Hamlet, analyzing the text closely for metaphor, plot, character, theme, tone, and other such stock categories of literary criticism. From there we move to a recent staging of Hamlet by director Michael Almereyda and starring Ethan Hawke in the title role. Next, we view director Tony Kaye's American History X, discussing it in terms of race relations in America. After reading Owen Wister's The Virginian we will turn our discussion to such Western movies as Robert Rodriguez's El Mariachi/Desperado and Sam Peckinpah's The Wild Bunch, seeking to read such films for their role they play in shaping America's consciousness of the U.S.-Mexico border. The last film we will see is Traffic. The content and aim of the course are to understand the paradigm shift that contemporary literary studies is experiencing under the dubbing of cultural studies. To that end, rather than taking the point of view that literature expresses timeless literary value, we will emphasize its constantly changing value and the conflicts of interpretation. We will propose that film is an excellent vehicle for tackling this task. Apart from the films we will see and the literary texts mentioned, our main textbook will be Falling into Theory, edited by David Richter.

English 250.002
MWF 12:00-12:50 p.m.
The Analysis of Literature
Feroza Jusswalla
In this class we will learn how to analyze themes and techniques in literature. We will use the Norton Anthology of English Literature: The Twentieth Century together with Bonnycastle's In Search of Authority, a text that provides a very simple introduction to literary theory and the questions posed by movements such as Deconstruction and New Historicism. We will read a wide array of texts and learn to write analytical research papers using the MLA style manual.

English 250.003
TTh 2:00-3:15 p.m.
The Analysis of Literature
Barry Gaines
This section will be organized around the distinctions between characters, actors, and audience in a variety of genres. There will be several short working papers and perhaps an exam or two. Texts may include: Pirandello, Six Characters in Search of an Author; Shakespeare, Hamlet; Stoppard, Rosenkrantz and Guildenstern Are Dead; Woody Allen, Side Effects, etc.

English 250.004
W 7:00-9:30 p.m.
The Analysis of Literature
Staff

English 265.001
MWF 11:00-11:50 a.m.
Introduction to Chicana/o Literature
Catherine S. Ramírez
This course explores the making and transformation of Chicana/o cultural identity and community in and through Chicana/o literature from the late nineteenth century to the present. Juxtaposing a wide array of literary texts (e.g., poetry, short stories, novels, autobiographies and drama) with film, visual art and literary criticism, we shall chart the parameters of nation, home, community and family. This is an introductory literature course and has been designed specifically for students who wish to familiarize themselves with Chicana/o literature.

English 265.011
TTh 11:00 a.m.-12:15 p.m.
Introduction to Chicana/o Literature
Andres Rodriguez

English 290.001
TTh 11:00 a.m.-12:15 p.m.
Introduction to Professional Writing:
Charles Paine
By the end of this course, you'll have gained a pretty good handle on the spectrum of professional writing by studying the genres and conventions employed by professional writers. We will begin by discussing the career options available to those with a bachelor's in English, as each of you will make a presentation about a certain area, including editing, business and technical communication, consulting, public relations, freelance magazine writing, computer documentation, and so forth. You'll do a lot of writing, and we'll spend a lot of time talking about your writing. Throughout the semester we will strengthen your ability to analyze audiences, organize texts, create effective paragraphs, design documents, and persuade people. By the end of the semester, you should be able to design and write the clear, authoritative text that employers and publishers expect.
Course texts and materials include: John C. Brereton and Margaret A. Mansfield. Writing on the Job; and Mary Munter and Lynn Russell. Guide to Presentations.

English 290.002
Th 5:30-8:00 p.m.
Introduction to Professional Writing:
Writing As A Profession
David Dunaway
This introduction to the world of professional writing, editing, and publishing is the cornerstone to success in UNM's Professional Writing Program. The course can be taken at any time in your studies, after English 102, and it is open to students of all departments interested in learning about earning a living as a writer.
Among our topics: a survey of writing in the professions, including basic editing and rewriting techniques; writing for broadcast; writing for industry; writing memoir and Creative Nonfiction, and a primer on publishing in the U.S.-who owns it, how to find satisfaction in being published, and the sometimes mysterious world of agents and editors. The assignments include in-class stylistic exercises, a short article (submitted four times), and an extended piece of creative nonfiction. We will have guest lecturers as well as draw on the instructor's experience in writing a half-dozen books for major publishers.

English 292.001
TTh 2:00-3:15 p.m.
World Literature: Ancient World through the Sixteenth Century
Gary Harrison
This course, which counts toward the Humanities component of the Core Curriculum requirements, surveys the major texts of world literature from the Sumerian Epic of Gilgamesh through Shakespeare's The Tempest. Our study of some of the great cultural traditions and literary texts of the world begins in 2000 B.C.E. and reaches up through the seventeenth century. In addition to works by Homer, Virgil, Dante, Chaucer, and Shakespeare, we will read works by Valmiki, Zuangxi (Chuang Tzu), Ibn Hazm, Li Po, Lady Murasaki, and the Aztecs. As we marvel at powerful stories, poems and plays about love and war, about heroic journeys and spiritual pilgrimages, and about overweening ambition and saint-like humility, we will be alert to the richly diverse threads that have been woven into the intricate web of our increasingly global culture. Requirements will include three exams and several short writing assignments.

English 294.001
TTh 5:30-6:45 p.m.
Survey of Earlier British Literature
Mary Rooks
This exciting and important course surveys British Literature from three historical periods: Medieval (Old and Middle English), Renaissance, and Restoration/Eighteenth-century. Heroism and villainy, romance and sensuality, damnation and salvation, logic and passion-how do these supposedly oppositional forces both compete and meld in the drama of human existence? We will explore the horrific torments caused by Grendel, the "dark doer of hateful deeds in the black nights," and suffered by Faust, whose pact with the devil costs him his soul. We will contemplate with John Donne the luck of the flea, who "swells with one blood made of two," and with John Milton the motivation of Eve, who literally turns her back on Adam's welcome in Paradise Lost. We will wander through the strange worlds of the tiny Lilliputians and giant Brobdingnaggians of Gulliver's Travels, and mourn with Pope's Belinda over the rape of her golden lock. Bring to the classroom your knowledge and commentary on some of the most beautiful and captivating works of literature in English.
While our focus will be on the literature and major developments of genre and style, we will also consider important cultural trends and historical events, as well as key philosophical and social issues, in each period. Required texts include The Norton Anthology of English Literature (Volume I) and a photocopy packet. Course requirements include energetic participation, a 7- to 10-page research essay, and three exams.

English 294.002
MWF 9:00-9:50 a.m.
Early British Literature
Electronic Learning and Early British Literature
Carolyn Woodward
In this survey of literature written from the seventh through the eighteenth centuries, we'll read traditional texts such as Beowulf and Twelfth Night alongside newer additions to The Norton Anthology of English Literature such as a twelfth-century romance by Marie de France, a sixteenth-century traveler's report of "the new-found land of Virginia," and a debate about gender sparked by Jonathan Swift's scurrilous eighteenth-century poem "The Lady's Dressing Room." We'll also make much use of Norton's web-based resources to enrich our reading of Chaucer with medieval writings sanctifying war against Moslems, our reading of Paradise Lost with paintings of the temptation of Adam and Eve, and our reading of Olaudah Equiano's slave narrative with eighteenth-century arguments for and against the slave trade. Along the way we'll investigate connections between such disparate types of literature as epic poetry and the novel or the first musical comedy and Louis Armstrong's "Mack the Knife." Assignments include midterm and final examinations, short weekly reflection papers, and a group project.

English 296.001
T 7:00-9:30 p.m.
Earlier American Literature
Gary Scharnhorst
This course surveys American literature from the colonial period to the mid-nineteenth century, with particular emphasis on the major writers and major literary movements of the period. The course considers both recognized and unjustly neglected works in cultural and historical context. Final grades will be based almost entirely on two brief papers and two exams.

English 296.002
TTh 8:00-9:15 a.m.
American Literature Survey, Colonial to Romantic
Stephen Brandon
The course title may suggest such figures as Emerson, Dickinson, and Thoreau, but the first "American" voices were not European. Beginning with the premise that literature takes many forms and that the oral tradition of the original Americans precedes and informs that of the colonists, this course will explore the idea of American literature as a trialogue between the Native American, European American (primarily English but also French and Spanish), and later, African American traditions. In addition, within these traditions we will consider the voices of women. What attitudes does each tradition express toward the others? How does each imagine its relationship to the land? What attitudes do each express toward women, and how do women writers regard themselves? What can the differences between oral and written forms of expression teach us? What does each voice, and our relationship to each voice, teach us about our history, and ultimately, about ourselves?
These are some of the questions that we will consider in our survey of the many literatures of the United States, including oral narratives of Native Americans; the poems of Phillis Wheatley, Emily Dickinson, Walt Whitman, and Sarah Piatt; the essays of Ralph Waldo Emerson, Margaret Fuller, and William Apess; the social criticism of Fanny Fern, Frances Harper, and Henry David Thoreau; and the fiction of Nathaniel Hawthorne, Harriet Beecher Stowe, and Alice Cary.
Required texts include: Nathaniel Hawthorne, The Scarlet Letter; Harriet Jacobs, Incidents in the Life of a Slave Girl; The Heath Anthology of American Literature, Lauter, et al., 2nd ed., vol. 1.; and Catharine Maria Sedgwick, Hope Leslie.
Assessment will be based on a portfolio of weekly writing assignments--including one research paper at the end of the course based on weekly pieces--and participation in classroom activities and our class listserv.

English 296.003
MWF 10:00-10:50 a.m.
Earlier American Literature
Peter White
This course is a survey of the literature of America from the European exploration to the Civil War. In my undergraduate courses, students are shown how to do research in the library in the literature and culture of the period and how to work together to do papers and other assignments as a group. We will use the Heath anthology because it contains some regional texts and because it fits better with the interdisciplinary approach I use in class. We will have a mid-semester, library research assignments, a group paper, and other tasks designed to give students skills and knowledge of the literature and culture of the period. Class attendance and participation are required.

English 298.310 (first half of semester)
English 298.330 (second half of semester)
Restricted course/Times arranged
Workshop in Literature or Writing
Rebecca Hooker
This workshop is a one-credit, non-graded (credit/no credit) course designed to help you prepare a strong Writing Proficiency Portfolio. We will focus on understanding the evaluation criteria, selecting appropriate work, and revising the proper contents of your portfolio for submission. We will also discuss effective cover letters and the portfolio procedures, including the interview. The workshop meets once a week with time available for individual conferences with the instructor.

English 304.001
MW 2:30-3:45 p.m.
The Bible as Literature
Anita Obermeier
The Bible is the text with the most significant influence on western literature. This non-doctrinal examination of the Bible is an invaluable tool for students of literature and will increase their cultural literacy. This course is designed to read the Bible like a literary anthology, aiming to familiarize the students with the major parts of the Hebrew and Christian Scriptures and to become conversant in the most influential myths and images from the Judeo-Christian tradition. We will study the Biblical texts as we would study other literature, emphasizing authorship, character, plot, setting, theme, literary modes and genres­including allegories, apocalyptic literature, beatitudes, blessings, etiologies, folktales, genealogies, historical narratives, laments, laws, legal commentary, letters, parables, prayers, prophetic poetry, proverbial wisdom, royal decrees, sayings, stories of healing, theophanies, and tribal lists. We will also employ literary analysis, methods of inquiry, and terminology, such as allegory, irony, metaphor, parallelism, personification, puns, simile, symbolism. Our discussions will concentrate not only on the structure and meaning of individual works but also on the ways in which these works reflect the historical people and times that produced them.
Requirements include an 8- to 10-page term paper, in-class midterm and final examinations, and ten one-page response papers.
Texts include: The New Jerusalem Bible, and Understanding the Bible by Stephen Harris.

English 304.001
MW 5:30-6:45 p.m.
The Bible as Literature
Staff

English 305.001
TTh 9:30-11:00 a.m.
Scandinavian Mythology
Helen Damico
To read Scandinavian myths for the first time is to meet, face-to-face and personally, the imagery of Northern Europe's cultural heritage. This mythology, transmitted to us in its richest literary form through the Old Icelandic Eddas, and supported by artistic styles and runic inscriptions from as early as the third century, are the record of a sophisticated pre-Christian culture that has remained a potent force in the shaping of modern Norse and English ideals and institutions. The integration, and sometimes opposition, of the Christian and pagan cosmologies that enrich our culture continue to find expression in the works of Wagner, Tolkien, and Auden. Texts include: Snorri Sturluson's prose Edda, the anonymous Poetic Edda, and excerpts from other mythologies. There will be exams, and a paper. This course applies toward the minor in Medieval Studies.

English 320.002
TTh 11:00 a.m.-12:15 p.m.
Advanced Expository Writing:
Writing in an Electronic World
Staff
College students have, over the course of the past fifteen years, been fully involved with the development of a new medium for reading and writing: the World Wide Web. Among the more famous student pioneers are Marc Andreseen, co-developer of the first Web browser Mosaic, and undergraduate Justin Paulsen, whose innovative, mid-nineties website YA BASTA publicized the Zapatista movement, thus tempering the pace and degree of its suppression. Paulsen, his Zapatista site now archived, describes the 2002 Web environment as "one giant, sprawling shopping mall for white folks with high credit limits." As if in response, this course in Beginning and Advanced Web Development, while advancing your technical and design expertise, assigns equal importance to how you envision the social uses of your expertise. You are a new generation of web writers, competing with commerce and entertainment for attention to your work. This class invites you to think of your web work as much more than a job-related skill or a space for personal expression. Instead, enroll in this course to design a site that invites readers to participate in political life and to share your vision for social change.

English 321.001
TTh 7:00-8:15 p.m.
Creative Writing: Reading and Writing of Fiction
Staff
This class will be staffed by an experienced teacher and published author from the greater Albuquerque community.
This course is an intermediate-level workshop with an emphasis on mastering the elements of fiction. Students who enroll must have completed English 221 or have the consent of the instructor. Our focus will be on observation and transformation, on taking what we see and hear around us-the conversations of strangers, offbeat relatives, the news, childhood adventures, romances, daydreams, and lies-and turning it into fiction.
Requirements: Frequent reading assignments from literary magazines and the texts, a reading and writing journal, and two short stories plus revisions.

English 321.002
MWF 11:00-11:50 a.m.
Creative Writing: Reading and Writing of Fiction
Staff
Please see description for 321.001 above.

English 321.003
MW 4:00-5:15 p.m.
Creative Writing: Reading and Writing of Fiction
Daniel Mueller
I believe that every piece of fiction has contained within it the seed, or blueprint, of what it ultimately wants to be. For the author, fully realizing a work of fiction requires carefully listening to what the narrative is telling her during the act of composition, from first sentence to last, and at every stage of revision. With this as our informing principle, we will investigate how stories are put together and the strategies that lend themselves to successful storytelling. The course will balance discussion of anthologized stories and narrative technique with written exercises and analysis of one another's fiction. Students should expect to workshop a minimum of two pieces of inventive, ambitious, original fiction during the semester. A portfolio of twenty-five or more pages of polished fiction will be due at the end of the term in lieu of a final exam.
Prerequisite: English 221 or professor's consent.
Texts: Writing Fiction: A Guide to Narrative Craft by Janet Burroway; The Elements of Style by William Strunk Jr. and E. B. White

English 322.001
TTh 12:30-1:45 p.m.
Creative Writing: Reading and Writing of Poetry
Lisa Chavez
In this intermediate poetry workshop, we will try out a range of poetic forms from the traditional (sonnets, sestinas) to the less traditional (list poems, prose poems, persona poems). We'll do a lot of exercises in form and style to stretch your poetic muscles and to help you learn new techniques for crafting your poems. Our classes will be spent discussing poetic form, discussing your poems, and doing writing exercises. I'll expect you to do a number of exercises that may or may not result in more polished poems, and I'll expect you to produce a final portfolio of revised poems (some of which may have arisen from exercises; others may be new poems of your choice in any style or form). I'll also ask everyone to write a brief paper on a book of poetry by a contemporary writer of your choice and to do a presentation that introduces the work of this writer to the rest of the class.

English 322.002
MW 2:30-3:45 p.m.
Creative Writing: Reading and Writing of Poetry
Staff
This class will be staffed by an experienced teacher and published author from the greater Albuquerque community.
This is an intermediate level workshop in which students will use assigned readings and their own writing to develop a deeper understanding of poetry. Students who enroll must have completed English 222 or have the consent of the instructor. By the end of the semester, students will have gained an appreciation for contemporary poetry and have learned how to prepare their own work for publication.

English 335.001
MW 1:00-2:15 p.m.
French Literature in Translation
Rebels With a Cause: The Generation Gap in Francophone Africa
Stephen Bishop
Ever wonder if African parents tell their kids that there are starving kids in America? Well, they don't, but nonetheless there are a great deal of similarities between the problems that American and African youths face in dealing with the "older generation."
This parallel occurs despite very different societies in terms of social and family organization, economics, technological development, colonial history, and politics. The course will attempt to see why such extreme differences do nothing to change or alter a seemingly universal problem of adult-youth misunderstanding, mistrust, and miscommunication. It will also concentrate on what differences there are, why they occur, and how they aid to better understand the dynamic. We will investigate issues such as school, respect for elders and traditions, love and marriage, politics, and social hierarchy. We will ask questions such as why traditions are so important to adults and so constraining to youths, exactly how universal the problem seems to be, how African society differs from American society, and whether generational conflict is good or harmful for a society.
Students will keep a journal of their reflections on readings and class discussions, write a short response paper of 3-4 pages, give a presentation, and write a final paper of 7-9 pages. The course is in English, but students are welcome to read French language texts in the original.
Readings include Taaw by Sembene Ousmane, "Three Suitors, One Husband" by Guillaume Oyono-Mbia, Caught in the Storm by Seydou Badian, and a coursepack of short stories and articles. There will also be several films which students will be required to view outside of classroom hours (Saaraba, Yeelen, Tilai, and Quartier Mozart). Questions should be addressed to Steve Bishop (323C Ortega, 277-6344, sbishop@umn.edu).

English 336.001
TTh 5:30-8:00 p.m.
German Culture: What's at Stake in Vampirism
Vampyres-From Myth to Modernity
Katrin Schroeter
In this course, we will analyze different cultural representations of vampyres from ancient Greece to our own age. We will examine literary and filmic representations of vampirism in relation to issues of colonialism, nationalism, gender, and sexual identity. Primary emphasis will be on the modern vampire as it emerged first in literary representations of Victorian England. Readings will include Bram Stoker's "Dracula", Anne Rice's "Interview with the Vampire", "The Penguin Book of Vampire Stories", as well as one of two New Mexico vampire novels, Suzy McKee Charnas' "The Vampire Tapestry" or Aaron Carr's "Eye Killers". Films will include Murnau's and Herzog's "Nosferatu", Tod Browning's, Andy Warhol's, and F.F. Coppola's "Dracula", as well as "Interview with the Vampire", "The Hunger", and "The Addiction".
Special Fee: $30

English 351.001
MWF 11:00-11:50 a.m.
Chaucer's Canterbury Tales
Anita Obermeier
This course is designed to offer interested students an opportunity to study critically Chaucer's Canterbury Tales, one of the greatest, most imaginative, and varied pieces of English literature. We will explore Chaucer's most famous work in relation to the turbulent historical, intellectual, literary, and social world of late-medieval England­­a world of both decay and renewal, of catastrophic violence and decline for some, but dazzling possibility for others. Through the voices of competing storytellers, Chaucer's last great poem tests the boundaries of social possibility in a "disenchanted" age, weighing the competing claims of allegory and realism, chivalry and commerce, men and women, traditional authority and individual experience. And it does so in our ancestor language of Middle English, simultaneously a colorful, earthy, and lofty idiom. In this course we will, in essence, ride along with the Canterbury pilgrims on our own journey through the Middle Ages.
Requirements include two papers ( 3-5 pages and 8-10-pages), in class midterm and final examinations, and ten, one-page response papers complete d in class.
Texts include The Riverside Chaucer, Larry D. Benson, ed.; and The Consolation of Philosophy by Boethius.

English 351.002
TTh 7:00-8:15 p.m.
Chaucer's Canterbury Tales
Staff

English 352.001
MWF 8:00-8:50 a.m.
Shakespeare: Histories and Comedies
Cheryl H. Fresch
Nine to twelve of Shakespeare's comedies and histories will be the primary texts, the basis for the class discussions, and the principal (but not exclusive) matter on which students will be examined. Secondary texts and additional supplementary material will be presented by students doing in-class presentations. Exams will be scheduled in the fifth and the tenth weeks (no midterm and no final), and approximately eight two- to three-page papers will be assigned.

English 352.002
TTh 12:30-1:45 p.m.
Shakespeare: Histories and Comedies
Ayanna Thompson
Can you differentiate a comedy from a Romance, a tragedy from a history? How do your expectations predetermine your experience of the theatre? William Shakespeare played with early modern generic expectations often upsetting and disrupting the norms.
This course will focus on close readings and analyses of Shakespeare's comedies and histories in order to examine how Shakespeare used genre to interrogate various aspects of early modern history, politics, and society. Although portions of the course will be structured around lectures, class participation in the form of discussions and presentations is mandatory.
Assignments include: midterm and final exams, several papers, and an in class presentation or short performance.
Required text: The Norton Shakespeare

English 353.001
MWF 9:00-9:50 a.m.
Shakespeare: Tragedies
Staff

English 353.002
TTh 11:00 a.m.-12:15 p.m.
Shakespeare: Tragedies
Barry Gaines
This class will involve close readings of eight of Shakespeare's great tragedies. We will explore the Elizabethan theater and acting conventions, and we will discuss Shakespeare's growth as a dramatist. There will be two or three papers and two tests.
Text: Complete Works of Shakespeare, edited by David Bevington

English 353.003
M 5:30 -8:00 p.m.
Shakespeare: Tragedies
Staff

English 354.001
MWF 10:00-10:50 a.m.
Milton
Cheryl H. Fresch
Milton's shorter poems, as well as his prose treatise Areopagitica, will be the primary texts, the basis for the class discussions, and the principal (but not exclusive) matter on which students will be examined. Secondary texts and additional supplementary material will be presented by students doing presentations in class. Exams will be scheduled in the sixth and the eleventh weeks (no midterm and no final), and approximately eight two- to three-page papers will be assigned.

English 360.001
MW 1:00-2:15 p.m.
Sherman Alexie
Elizabeth Archuleta
Victor: "Don't you even know how to be a real Indian?"
Thomas: "I guess not."
Victor: "I guess I'll have to teach you then." [Thomas smiles] "First of all, quit grinning like an idiot. Indians ain't supposed to smile like that--get stoic!"
(from the movie Smoke Signals)
This conversation documents how popular culture has informed and impacted American Indians' lives. Smoke Signals documents the alcoholism, abuse and abandonment experienced by one reservation family; it also documents the struggle each Native American faces as a member of a community with the country's highest rates of poverty, suicide, alcoholism, high school drop-out and teen pregnancy. Alexie believes that American Indian writers should write from their own lived experiences, not from some nostalgic and romanticized notion of what it means to be Indian in white America, so we will examine what it means to be an Indian from Alexie's perspective. Alexie emphasizes the way that identity is culturally constituted and produced, and his works show how self-representation has become a site through which American Indians resist the legacies of negative portrayals as well as negotiate contemporary issues of Indian identity, family, sovereignty. Alexie has switched from poetry to prose, from short stories to novels, and from writing to film, so we'll follow his various moves in The Lone Ranger and Tonto Fistfight in Heaven, Reservation Blues, Indian Killer, Toughest Indian in the World, The Business of Fancydancing: Stories and Poems, Old Shirts & New Skins, First Indian on the Moon, and The Summer of Black Widows. We will also listen to some recordings ("Reservation Blues," with Jim Boyd) and watch a movie (Smoke Signals) based on his writing.

English 360.002
TTh 6:30-9:00 p.m. (Cibola H.S.)
Novels and Short Stories of Stephen King
Martha Ninneman
According to the New York Times, Stephen King has "published dozens of novels, become one of the world's best-selling authors, defined a genre, and given people everywhere the serious creeps." Yes, Stephen King is a prolific, popular author, and yes, many (OK, most) of his works are scary; however, there is far more depth to King's writing than just the scare factor. This semester, we will explore why King is a "serious" author, deserving of this college course. The texts for this class are On Writing: A Memoir of the Craft, The Shining, The Stand, Misery, The Dark Half, Bag of Bones, and Hearts in Atlantis. Time permitting, we will also read one or two short stories from Everything's Eventual. Whenever possible, we will also look at movie adaptations of these works. Requirements include: position papers on the novels; a class presentation on a critical essay about King and his work; and a research essay due at the end of the semester.

English 410.001/510.001
TTh 2:00-3:15 p.m.
Linguistics and Literary Criticism
Hector Torres
This course is a general excursus into the state of modern and postmodern literary and critical theory. We will trace a trajectory that will begin with Marx, Nietzsche, and Freud and guide us to contemporary cultural studies. We will thereafter focus our attention on Saussure's structural studies of the linguistic sign as well as Heidegger's take on language. Lukacs and Gramsci will contribute reformulations of Marx. Lacan's return to Freud will be crucial for us. Foucault and Derrida will place us at the center of cultural studies, if we can speak of a center. Cixous, Spivak, Anzaldúa, Smith, Butler and hook will continue to deconstruct us. A portion of the course will address questions of critical practice and methodology. To take up these critical questions we will see one of two films, either Training Day or Traffic, or both if time permits.

English 411.001
TTh 12:30-1:45 p.m.
Asian American Literature
Julie Shigekuni
Our ethnicity is defined both by how we are seen and how we see ourselves. We'll look at how Asian American writers construct themselves and the body of Asian American literature in their writing, reading the work of longtime masters like Frank Chin and Maxine Hong Kingston as well as emerging voices like Chang Rae Lee and Christina Chiu. We'll examine historical, political, and social contexts as well as issues of writerly craft like voice and point of view. In turn, we'll explore how ethnic identity is constructed in our own lives. While previous creative writing courses are not a prerequisite, participants will invent oral and written narratives that reflect the reader's understanding, and engage the writer's imagination.

English 411.003
MW 1:00-2:15 p.m.
Living Authors
Sharon Oard Warner
Wouldn't it be wonderful to ask Jane Austen how she created the standoffish but ultimately irresistible Mr. Darcy from Pride and Prejudice? Was he based on someone she knew, was he a composite, or did Austen simply dream him up? Or imagine asking a few quick questions of Kafka. Might we discover why Gregor Samsa woke from "agitated dreams" to find himself transformed into an insect? Unfortunately, outside of the séance, these authors are not available for comment. On the other hand, every generation produces a whole new crop of talented writers, and on the whole, they are much easier to contact. A number of them will be with us as part of this class. The reading list for "Living Authors" includes a novel, a short story collection, two books of poetry, a memoir, and a novel for young adults. The class will read and discuss each book and then host the author in a special class session. Course assignments will include a number of short response papers and at least one longer paper.
This course is part of the English Department Honors program.
Texts include: Mountain City, by Gregory Martin; How Animals Mate, by Daniel Mueller; Echolocations, by Diane Thiel; In an Angry Season, by Lisa Chavez; A Bridge Between Us, by Julie Shigekuni; and Mary, Bloody Mary, by Carolyn Meyer.

English 417.001
MW 2:30-3:45 p.m.
Editing
Lynn Beene
Editing, it is said, is the craft of preparing "for publication or presentation, as by correcting or adapting; to put together the component parts by cutting, combining, and splicing." It is much more. English 417 is an undergraduate study of the practical application as editing strategies. The primary objective of the course is to teach the analytic and critical skills required for good editing, not to give you a review of the intricacies of English grammar. To this end, the course will cover editing not only as the application of grammatical rules and terms but also as marking copy with appropriate copyediting symbols, the nature of substantive vs. surface editing and of rhetorical vs. rule-governed editing, the rudiments of typography and layout, and, at least to some extent, the impact of computerized text editing/word processing. You should leave the course knowing the difference not only between theme and rheme but between en and em as well.
The course begins with definitions of editing, a review of the basic marks proofreaders and editors use, and a survey of the basic grammatical operations editors use everyday. Next the class will study, apply, and evaluate substantive editing and move to a review of the levels of editing. We will also read about the history of publishing and take a look at other practices of editing and copyediting (e.g., the ethics of editing, editing literature, electronic editing, relationships with authors, elements of graphic design).
Requirements include three editing assignments, complete with author queries where needed; a short essay: (5-9 pages) evaluating either (a) a usage/grammatical concept under debate (e.g., semicolons, 'It is I/me,' collective nouns such as datum/data) or (b) a design features of a document (e.g., brochure, journal article, newsletter, minimal manual) published either in print or on the web; a short essay evaluating either (a) the similarities/differences of at least three different dictionaries, (b) the similarities/differences of at least three different style manuals, or (c) the impact of one aspect of computer technology or computerized editing programs on the editing profession; numerous in-class assignments; a final examination.

English 418.001/518
S 8:00-10:45 a.m.
Proposal and Grant Writing
Staff
This course will study the practice and theory of writing proposals and grants. In all business and technical workplaces, the development of proposals is critical toward determining what an organization will do, how it will do it, and who will receive the resources for the project. Similarly, as people in the arts, humanities, and sciences are aware, grants are the lifeblood of their programs. This course will give you the opportunity to study the purpose and theory behind proposals and grants. We will then discuss the rhetoric of these documents, demonstrating how their form, content, style, and design work together to create a persuasive package. Finally, you will be asked to write a few grants or proposals of your own. This course is designed for people who want to write grants or proposals professionally in the arts, humanities, sciences, or business. It should appeal to English majors who want to be professional grant/proposal writers or non-English majors who need to write grants and proposals for their occupation.

English 420.001/520.001
T 7:00-9:30 p.m.
Blue Mesa Review Editorial
Julie Shigekuni
This course provides students with hands-on training in all aspects of running a nationally circulated literary magazine. Editorial assistants solicit and read manuscripts, correspond with authors, and take part in deciding the contents, cover art, and layout of the review. For more information, contact Julie Shigekuni, Editor, at jshig@unm.edu. Registration requires permission from the instructor; no exceptions.

English 420.002/520
T 4:00-6:30 p.m.
The Memoir
Greg Martin
Memory, it's been said, is always configured on a gap-to remember suggests the forgetfulness, the loss upon which memory is founded. This is a writing workshop that focuses on how both memory and forgetting shape us, and shape our writing about real lives and events. We will explore that blurred boundary where memory is both fiction and truth, and where memoir is both truth and invention. We will explore the real obligations that memoirists have to real lives: to their subjects, and to their readers. And in all this, we will explore how craft technique informs and guides. Nabokov, in Speak, Memory, writes that the true task of autobiography is the following of thematic design, of pattern and order, through one's life. We will be seeking those patterns, attempting to make larger sense, to see how our personal lives participate in the human condition.
It is assumed that those who take this class will have specific projects to undertake, either parts of a longer work, or self-contained essays. Over the course of the semester, each member will write two pieces of memoir, each of which will be be revised. My hope is that the course will push you stylistically and technically, and encourage you to take emotional risks, to write what you could not have written before, to raise your standards for what you consider good writing, and then to meet those standards through the development of the habit of art. Finally, in order to write well, we must read well, and read as writers, and so this class will combine a balance between workshopping and the discussion of published authors.

English 420.006
TTh 5:30-6:45 p.m.
Hypertext: Understanding and Using a New Writing Space
Charles Paine
This is a hands-on workshop course, which will be conducted mostly in the computer lab. We will collapse the boundaries between, and enter into, some diverse fields: history, technical writing, philosophy, literacy studies, rhetoric, cultural studies, and human-factors psychology. Very roughly speaking, in the first part of the class we'll explore the philosophical questions surrounding hypertext, and each of you will design and implement a website for an organization you find, interview, investigate, and collaborate with. In the second part, we'll use what we have learned to create-collaboratively and individually-a large hypertextual document (a website, online help system, or piece of creative writing). Throughout the semester, to link implementation with design concepts and user psychology, we'll design several smaller hypertext products.
Materials include: The Design of Everyday Things, by Donald Norman, and The Non-Designer's Web Book by Robin Williams and John Tollett; various other readings I will make available; web-creation software (though the computer cluster may have it by then).

English 420.003
TTh 12:30-1:45 p.m.
Science and Medical Writing
Richard Johnson-Sheehan
This course is designed for writers/editors who want to work in scientific or medical fields, or science/medical students who want to learn how to write professionally in their fields. The course will study science writing and medical writing for professional and lay audiences. You will learn how to write scientific articles, research proposals, and grant proposals. You will also learn how to write articles for popular venues like magazines, newspapers, and books. Finally, you will learn how to work as an editor and consultant in the sciences and medical fields.

English 420.004
TTh 9:30-10:45 a.m.
Advanced Nonfiction
Michael Hogan
This course offers practice in writing expository prose, with the 400 number signaling that students who enroll should have completed English 219, 220, 320 or possess solid upper-division writing skills. At the time of this writing, I envision having students write a series of brief papers in the first six weeks and then devote the remainder of the term to work on one or two substantial pieces. The larger piece(s) could be academic, professional, or "creative'" nonfiction in nature.

English 420.005/520.005
T 5:30-7:00 p.m.
Writing the Southwest
David Dunaway
Have you ever wanted to read the key novels and poetry that make up our heritage as Southwesterners? Do you find yourself struggling to explain the Southwest to visitors? Would you like to know more about the future of the region and where new groups and new constructed identities are taking us?
This is a writing course based on reading contemporary Southwestern Literature. Students write two pieces of creative nonfiction concentrating on a sense of place and on a sense of community (and take a midterm exam). This is not a typical literary survey: not only will students read the works of Anaya, Harjo, Abbey, Kingsolver and others, but they will hear these authors comment on their work, via a series of radio documentaries that for the "required listening." We will study the literary styles of these authors and imitate them in in-class assignments. We will discuss the world of publishing and learn how to market professional writing and creative nonfiction. Enrollment is limited; students are asked to register early rather than try to enroll at the class's beginning.

English 421.001
TTh 11:00 a.m.-12:15 p.m.
Creative Writing Workshop: Prose Fiction
Julie Shigekuni
The premise for this course is that strong content arises out of identifying and carefully nurturing each layer of a story. As such, we may begin by examining a story you wrote in an earlier fiction class, focusing critique on possibilites for development, asking questions like: What is the heart of this story? What do we know about the main character? What does the beginning lead us to expect? How are our expectations met or thwarted? What do we love, desire, fear? These basic questions emerge as central to all good stories and bear the heart of the storyteller--so come prepared for scrutiny, and for celebration too. We'll do some experiments, shaping and reshaping stories from various angles, and then, possibly, we'll begin something new. Each student is expected to write daily, and to create and revise a minimum of two stories.

English 421.003
MW 5:30-6:45 p.m.
Creative Writing Workshop: Prose Fiction
Daniel Mueller
Every piece of fiction, at whatever stage of its metamorphosis, contains the blueprint of its ultimate realization. Consequently, responding constructively to another's fiction is as great an act of the imagination as writing one's own fiction is and requires just as much practice. In addition to helping one another hear what our own stories are telling us about what they want to be, we will read and discuss Aristotle's Poetics and attempt to discern the extent to which Aristotelian story structure informs contemporary American short stories and the extent to which we'll let it inform our own.
Required texts: Aristotle's Poetics, Best American Short Stories 2001
Recommended texts: Janet Burroway's Writing Fiction

English 422.001
TTh 12:30-1:45 p.m.
Creative Writing Workshop: Poetry
Diane Thiel
This advanced poetry writing course will focus on workshop of students' writing. The readings for each class session will address particular techniques or elements of poetry.(i.e.: diction, perspective, image, rhythm, forms of poetry, narrative, etc.). Exercises and assignments will accompany discussion of these elements. As cultural perspective is an important aspect of poetic discourse, the assigned readings of poetry and essays from authors of various backgrounds will inform and enrich class discussion about the connections between culture, form and content. Students will keep a journal throughout the semester that will contain responses to readings, exercises, audio recordings, discussions, etc. Students will write one creative/critical essay and give a presentation on one of the books of poetry (or excerpts) selected for the class. Because students arrive in an advanced workshop with a variety of backgrounds, styles, and interests in poetry, such presentations will contribute to ongoing discussions about lineage and the different schools of thought in poetry. Class portfolios, consisting of 25-30 pages of poetry, including six significantly revised pieces, will be due close to the end of the semester.

English 441.001/541
MW 1:00-2:15 p.m.
English Grammars
Staff
This course introduces advanced undergraduate students and beginning graduate students to grammar as an intellectual discipline and as a tool for identifying and analyzing style.
During the class, students will study the origins and developments of grammar models, analyze and describe the main structures and functions of the English sentence, judge conflicts in contemporary usage, explore the connections a formal study of grammar has to persuasiveness. Primarily, the course emphasizes how grammar models can be applied to language theory, stylistic evaluations, editing, and literary analysis.

English 443.001/543
TTh 2:00-3:15 p.m.
Rhetorical Texts: Late 19th and 20th Century
Charles Paine
Although rhetoric has been defined many ways since the word was coined in Ancient Greece, perhaps it's most helpful to see it as a way of viewing the world-a worldview that sees knowledge and reality not as fixed and knowable but as always in process and subject to various agents of change. It's a very old worldview, but it's also the worldview that has come to dominate Western contemporary consciousness. In this class, we'll explore many of the major statements about what rhetoric is and how it works from the last 120 or so years. We will progress through our material thematically rather than chronologically: pragmatism and neopragmatism, dramatism, ethics and persuasion, the structure of argument and narrative, feminist rhetoric, and postmodernism. Several of our major sources will be complete books, and there will be an extensive coursepak of readings.
This course would be helpful for students in literature, rhetoric, and creative writing. A strong understanding of rhetorical theory will make you a better critic, a stronger writer, and a better teacher.

English 449.001/549.001
TTh 5:30-6:45 p.m.
Introductory Old English
Helen Damico
An introduction to the language, literature, and civilization of Anglo-Saxon England (A.D. 600-1100), the course is designed to prepare students for more advanced linguistic, literary, and cultural studies in this and later periods. The course is the first in a series of courses that center on Old English and Old Icelandic language and literature; it is succeeded by Beowulf and/or Studies in Old English Literature in the spring. In addition to translation and the concurrent study of grammar, phonology, and versification, the course will offer lectures on the elements of Germanic language, on developments into modern English, and slide presentations dealing with art, archaeology, and social and political history.
Requirement include quizzes, a midterm, and a final. Graduate students will do a paper. The course is open to undergraduates. This course applies toward the Minor in Medieval Studies, and toward the Ph.D. concentration in Medieval Studies.

English 455.001/555.001
TTh 4:00-5:15 p.m.
Studies in British Romanticism: History, Writing, Nature
Gary Harrison
In 1798 two revolutionary works were published that would exert a profound influence upon the history of our thinking about the natural world: Wordsworth and Coleridge's Lyrical Ballads and Thomas Malthus's Essay on Population. While literary history has tended to bracket these works off from one another, both works continue to haunt the ecological imagination of contemporary writers. Moreover, both works emerge from a common Romantic ideology that recognizes some form of agency in the natural world. For Malthus, this agency manifests itself as the iron law of population; for Wordsworth, as a beneficent spirit guiding humanity to its nobler ends. How do we account for these divergent views in Malthus and Wordsworth, both of whom had been reading William Godwin's Political Justice just before they published their works? Where is the history in Romantic nature, the nature in Romantic history? This course will give you an opportunity to reflect upon these questions, as well as upon the importance of Romantic literature in shaping predispositions that-for better or for worse-continue to affect the human relationship to the environment. Drawing upon a variety of works from British, Continental, and American Romanticism from roughly 1756, the year of Burke's Enquiry on the Sublime, through 1854, the year of Thoreau's Walden, we will examine Romantic writing as the site where history and nature converge in a generative contest. Our readings will draw upon a variety of works in several genres by the following writers: Rousseau, Schiller, Kant, Spinoza, Hegel, Whitehead, Serres; Gilbert White, Emerson, Thoreau; Godwin, Wollstonecraft, Blake, Charlotte Smith, the Wordsworths, Coleridge, the Shelleys, Clare, and possibly Austen. Two exams and two medium length papers will be required; 555 students will give an in-class presentation.

English 459.001/559.001
Modern Irish Literature: James Joyce
Mary Power
You are invited to learn about the vision and styles of this great modern Irish author. In the first half of the semester, we will read Dubliners and A Portrait of the Artist as a Young Man; in the second, we will study Ulysses. Joyce's works will be looked at in the context of the culture of turn of the century Dublin with the occasional nod to Homer. There will be two papers and two tests.

English 461.001
W 7:00-9:30 p.m.
American Romanticism
Gary Scharnhorst
This course is a survey of some of the important texts of mid-nineteenth-century America. It is intensive and fast-paced. We will at least briefly consider such major intellectual movements as Trasncendentalism and such writings as Emerson's and Thoreau's essays; novels by Stowe and Hawthorne; tales by Poe and Melville; poetry by Whitman and Dickinson; and Frederick Douglass's Narrative. Final grades will be based on two papers and two examinations.

English 464.001
MWF 10:00-10:50 a.m.
From the Individual to the Collective:
Native Women Writers and their Politics
Elizabeth Archuleta
While many are compelled to focus on Native peoples as victims, many more are recognizing the importance of celebrating Native peoples' ability to endure, adapt, recover, restore, and heal themselves and their communities through the power of the imagination as well as through the power of political activism. When Joy Harjo writes, "A woman can't survive by her own breath alone?" she represents the idea that the individual and the collective are mutually dependent on one another for survival. In this course, we will learn how Native women have made their marks in both literary and political arenas to ensure their people's continuance. We will explore writing by Native American women whose struggles and visions for social justice influenced more contemporary writers. Beginning with Zitkala-Sa, our reading will include works that represent Native women's individual and collective struggles to improve their lives, the lives of their people, and the lives of Native people as a whole. These works include writing by Leslie Marmon Silko, Janet Campbell Hale, Beth Brant, Haunani-Kay Trask, Ella Deloria, Elizabeth Cook-Lynn, Paula Gunn Allen, Winona LaDuke, and Emily Pauline Johnson.
Assignments will include in-class projects, a group presentation, a midterm, and a final research paper.

English 471/571.003
TTh 12:30-1:45 p.m.
Twentieth Century Drama
David Richard Jones
The twentieth century is the site of the greatest renaissance of dramatic writing after the period of Shakespeare, Molière, and Calderón. The writers in this course represented and created some major tendencies and schools of modern thought, and they created classics of modern and contemporary theatre, which we study for its own aesthetic and stylistic issues.
This survey begins in the late nineteenth century (Ibsen, Strindberg, Chekhov, Shaw), touches on major writers of the early and mid-twentieth century (Pirandello, Brecht, Lorca, O'Neill, Tennessee Williams, Arthur Miller, Samuel Beckett, Pinter), and concludes with numerous plays from recent decades (Caryl Churchill, Sam Shepard, Athol Fugard, August Wilson). Along the way, the course deals with such social movements as feminism, Marxism, and civil rights and such intellectual movements as critical realism, absurdism, and multiculturalism.
The course will be lecture and discussion. Requirements include a midterm, a final exam, plus a major paper.

English 472.001/572.001
M 7:00 p.m.
Contemporary Literature
Writers of the Beat Generation
Staff

English 472.002/572.002
MWF 2:00-2:50 p.m.
Contemporary Literature
Feroza Jussawalla
This is a course that will survey contemporary literature as it is emerging in Britain and the United States. Fortunately or unfortunately most of the prize-winning and interesting literature is being written either by postcolonial authors or with regard to cross- cultural themes. We will read some of the newer postcolonial and contemporary works such as Salman Rushdie's Fury and V.S. Naipaul's Half a Life, together with works such as Coetzee's Disgrace, Oondatje's The English Patient and works of interest to creative writing students such as Memoir of a Geisha and Sohrab Fracis' collection Ticket to Minto (winner of the Iowa Short Fiction Award). Students are welcome to send me suggestions of books they would like to read. I intend to run the course like a reading group-- analyzing themes and techniques in the major literary production of today.

English 480.001/580.001
Th 4:00-6:30 p.m.
Eighteenth-Century Theatre and Fiction
Carolyn Woodward
The eighteenth century saw two remarkable events in literary and cultural history­the emergence of popular entertainment in the form of evenings at the theater, and the development of fiction, centrally the realist novel. This course investigates the cultural intersection of these two burgeoning art forms, beginning in the hot political and social milieu of 1730s London, when government censors hurried to shut down theaters in which satire had bit too sharply the hides of ministers of state, and denizens of Grub Street scribbled pot-boilers for a patronage system based no longer on pleasing a wealthy few but rather booksellers who played to a public market.
We'll focus on a few writers and actors, and one visual artist­three women and four men. Because the debates of the day sold well, we can investigate ways that the stage, the printed page, and the visual canvas constructed gender, class, ethnicity, and nationality, and represented slavery, marriage, and technology. We'll read writers who struggled to find ways to represent the human psyche and critics who worried about the power of novels to shape the minds of readers. It is of note, as well, that to one degree or another, each of our texts exhibits comedy, satire, and pathos: what may this reveal about the cultural moment that was England in the early to mid-eighteenth century? Central to our study will be questions of representation. What can be represented on the stage, where writing is mediated through the minds and corporeal presence of actors? What can be represented on the page, where writing is mediated through the mind of one reader? Tangentially, we'll consider questions of cinematic translation and adaptation.
Our texts will include: several stage plays and comic novels by Henry Fielding and Eliza Haywood; a novel and excerpts from stylized drama by Sarah Fielding; John Gay's Beggar's Opera along with illustrations by the cartoonist/painter William Hogarth; a theatrical evening by actor-manager David Garrick and actor-writer Kitty Clive; and films of Henry Fielding's novel Tom Jones, Garrick's play The Clandestine Marriage, Gay's Beggar's Opera and Berthold Brecht and Kurt Weill's 1930s Three-Penny Opera. Course requirements include weekly one-page reflections, four short papers.

English 499.001
W 12:00-12:50 p.m.
Internship Seminar
Richard D. Johnson-Sheehan
All English majors and minors, not just those in the Professional Writing concentration, may apply for and complete an internship as part of their undergraduate work. If you are about to begin or about to complete an internship, or if you have completed an internship during the past two semesters, see Professor Johnson Sheehan for an add card to the Internship Seminar. During the first week of class, come to the Wednesday meeting to receive a syllabus and schedule for the term. The class will meet about seven times during the semester to discuss topics of interest to enrolled students and to others seeking internships. Seminar topics include reading the job ads, writing job applications and resumes, searching the Internet for jobs, building a professional portfolio, and general problems and successes with ongoing or completed internships. Students must attend the seminar meetings and complete two documents: an internship proposal (1-3 pages) and a career portfolio. In addition, students give two oral presentations: at least one brief progress report and a more formal (about 20 minutes) final report on their internship or job search.
This course is credit/no credit.