Spring 2017 Undergrad Courses at 3000-Level and Higher

English 2277—Introduction to Disability Studies

Andrew Sydlik

WeFr 2:20 – 3:40 p.m.

English 2277 is meant to help you become more critically informed about disability as a matter of history, biology, politics, art, power, identity, and more. This course fulfills the Arts and Humanities GEC Culture and Ideas requirement, and is a required core course for the interdisciplinary minor in Disability Studies.

Our broad goal is to develop an understanding of disability as a complex and crucial part of the world's cultures and of human experience. More specifically, we will work together to:

- Understand core concepts of Disability Studies and its emergence as a field of study
- Explore disability as identity and way of being and knowing rather than as defect
- Assess different "models" of understanding disability - social, medical, cultural, etc.
- Contextualize attitudes and representations of disability according to historical time, place, and mediums (film, literature, law, etc.)
- Apply Disability Studies concepts to your own fields of interest and study

At 20% of the population, people with disabilities constitute the largest minority in the United States (U.S. Census Bureau 2005), and total one billion (about 17%) globally (World Health Organization 2011). It is likely that most of us will have a disability, or be close to someone with a disability, at some point in our lives. Yet we rarely question the assumption that disability marks someone as lesser. We may not be aware of the barriers and discrimination that disabled people face. In this course we will interrogate and resist standards of beauty, able-bodiedness, and able-mindedness. This goes beyond representations and conscious prejudice. For example, why do we use words like blind, deaf, crippled, crazy, and retarded to describe moral failing, or to devalue someone? What unexamined beliefs do you hold about disability?

We will engage in critical conversations with each other and other scholars to discover the unexamined assumptions about disability (and bodies generally) embedded in society. Our aim is to say what texts leave unsaid, to state the non-obvious, to make their implicit ideas about disability explicit. Last but not least, we will learn to "talk back" to stereotypes and oppressive attitudes.

Readings and assignments are still in development, but will probably include discussion posts that respond to readings, 2 or 3 short papers, and a longer analytical or persuasive research paper that asks students to make an original argument about a cultural artifact or take a stance on a specific debate/issue.

Possible readings include:

- Danquah, Meri Nana-Ama. Willow Weep for Me: A Black Woman's Journey through Depression. New York: Ballatine, 1998.  Paperback ISBN: 978-0393348750
- Finger, Anne. Call Me Ahab: A Short Story Collection. Lincoln: University of Nebraska Press, 2009.
Paperback ISBN: 978-0803225336
- Kuusisto, Stephen. Planet of the Blind. New York: Delta, 1998.  Paperback ISBN: 978-0385333276
- Readings posted to Carmen site.


English 3271—Structure of the English Language

Gabriella Modan

TuTh 11:10 a.m. – 12:30 p.m.

Students learn basic characteristics of English linguistics focusing on the basic building blocks of language; the sounds of English and how they are put together, word formation processes, and rules for combining words into utterances/sentences. Students investigate and explore linguistic variation, accents of American English, and the implications of language evaluation in educational settings.

Prereq: 1110.01 (110.01). Not open to students with credit for 4570 (570), 6760 (760), 271, 669, 671, 2271, or Linguist 601. GE cultures and ideas course.


English 3304—Business and Professional Writing

Christa Teston

MoWeFr 9:10 – 10:05 a.m. | MoWeFr 12:40 – 1:35 p.m.

In this course you will learn principles and practices associated with writing well in business and professional contexts. I'll provide you with a good deal of feedback on and several opportunities to refine your style, organization, and collaborative writing strategies. Most of our in-class time will involve workshopping course deliverables and learning the nuances of successful professional communication.

At the end of this course, you will have writing samples that demonstrate expertise with the following genres,
o correspondence genres (letters, memos, social media);
o presentation genres (pitches, pecha kucha, slideware);
o collaboration genres (charter document, strategic plan);
o information genres (reports, documentation, PSAs);
o proposal genres (project proposals, marketing proposals);
o employment search genres (resume, cover letter, interview techniques).

Research suggests that the best way to learn how to write professionally is to practice composing for meaningful, real world contexts, audiences, and purposes. In this class, therefore, you will practice rhetorically sound professional writing by partnering with Multiple Myeloma Opportunities for Research and Education (MMORE). You and your peers will have the unique opportunity to meet MMORE's marketing and communication needs while negotiating budgetary and time constraints. You'll also have a chance to work with cutting edge collaborative writing tools in a supportive digital media environment.

Learning Objectives
Ohio State University's English Department has agreed that the following competencies are this course's primary objectives.
1. Knowledge of and facility with producing professional communication genres.
2. Knowledge of professional settings - rhetorical situations, as well as how to respond to those situations.
3. Knowledge of and facility with the processes of developing effective professional documents.
4. Knowledge of and practice with professional behavior.

Required Materials
o A storage device (e.g. flash drive and/or portable hard drive)
o Google Drive account, Asana account, Dropbox account
o Alred, Brusaw, Oliu's (205) The Business Writer's Handbook (11th edition).


English 3305—Technical Writing

TBA

TuTh 11:10 a.m. – 12:30 p.m. | TuTh 2:20 – 3:40 p.m.

English 3305 (Technical Writing) is designed to improve the communication skills and career prospects of three groups: (1) science and engineering majors preparing for technology-focused careers, (2) humanities majors interested in exploring career options in technical communication, and (3) students of any major who want to enhance their marketability by learning about workplace writing. You do not need extensive background in science, technology, or writing to do well in this course.


English 3364—Special Topics in Popular Culture

Elizabeth Renker

MoWeFr 3 – 3:55 p.m.

Alternative Rock Lyrics as Poems

Before the twentieth century, poetry was as popular as music is today.  Many people today think of "poetry" as an elite or highbrow sphere of art that does not include the songs whose lyrics they love, sing out loud, ponder, and discuss with friends, but song lyrics are a vital and thriving form of poetry today--just as they have been for centuries.   Our class will train you in the skills of interpreting poetry and song lyrics, with special focus on the alternative/indie genre.  Our method will be to pair poems written over the past four centuries with recent songs that explore similar themes or forms.  For example, we might pair Arcade Fire with T.S. Eliot; St. Vincent with Robert Frost; John Donne with The Smiths; Emily Dickinson with Talking Heads; Neutral Milk Hotel with Edwin Arlington Robinson; The Antlers with Stars; Jackson Mac Low with Animal Collective; or Sharon Olds with Radiohead.

Over the course of the semester, class sessions will also include several videoconference sessions with working musicians from the local and national scenes who will talk to us about writing lyrics and about our interpretations of their songs. You will complete this class with a new ability to interpret the lyrics of the songs you love as well as a new appreciation for poetry. 

Monday and Wednesday sessions will be conducted as large lectures; Friday sessions will take a variety of formats, including smaller group meetings and online discussions and assignments in which you apply the learning from the week's lectures.

Textbooks: a poetry anthology.  Requirements: attendance; 3 short-answer exams; periodic short quizzes and written exercises.

Robyn Warhol

TuTh 3:55 – 5:15 p.m.

Janeites: Austen Fiction, Films, and Fans

Janeites: They have outfits. They re-enact Regency balls at annual conventions.  They are Jane Austen fanatics.  

There are at least 62 film and TV adaptations of works by Austen, 28 of them made in the last decade.  There are *Pride & Prejudice and Zombies*, movies about "Jane" herself, and movies where modern people go into Austen's world and vice-versa.  There's fan fiction.  There are Jane Austen action figures and "Mrs. Darcy" t-shirts.  And now there's even an online role-play game,  "Ever, Jane."

There are children's versions of Austen novels.  Jane Austen cookbooks.  Advice books, card games, and board games about "WWJD?" ("What would Jane do?").  And of course, lots of literary criticism.   

In this class we will be reading some criticism as well as four Austen novels, and watching film adaptations including *Clueless* and the Bollywood-style *Bride and Prejudice*.  We will look at the proliferation of all these contemporary avatars of Jane and more, to ask what it means, especially for women now.

Assignments include short informal written responses to questions about the texts, group oral presentations, a midterm and a final.


English 3372—Science Fiction and/or Fantasy

Jared Gardner

Tu 8 – 9:20 a.m. & online

American Science Fiction of the 60s and 70s

This class will study the "New Wave" revolution in Science Fiction during the 1960s and 70s which challenged the aesthetics and ideals of the so-called "Golden Age" SF of the previous generation. Employing literary experimentation, and privileging of political and social issues over scientific realism this generation of writers and editors left a lasting impact on the genre that is still very much felt today. 

We will read from a wide range of writers, including Thomas Disch, Ursula Le Guin, Philip K. Dick, Octavia Butler,  Samuel Delany, Joanna Russ, James Tiptree, Jr. (Alice Bradley Sheldon), and Isaac Asimov. 

In addition to quizzes and a final exam, there will be a variety short writings throughout the semester leading up to a final paper project.

Karen Bruce

TuTh 12:45 – 2:05 p.m.

Introduction to the tradition and practice of speculative writing. Provides students the opportunity to examine and compare works of science fiction and/or fantasy. 
Prereq: 1110.01 (110.01) or equiv. Not open to students with credit for 372. GE lit course.

Katherine McCain

TuTh 9:35 – 10:55 a.m.

Introduction to the tradition and practice of speculative writing. Provides students the opportunity to examine and compare works of science fiction and/or fantasy. 
Prereq: 1110.01 (110.01) or equiv. Not open to students with credit for 372. GE lit course.

Sara Cleto

WeFr 2:20 – 3:40 p.m.

Introduction to the tradition and practice of speculative writing. Provides students the opportunity to examine and compare works of science fiction and/or fantasy. 
Prereq: 1110.01 (110.01) or equiv. Not open to students with credit for 372. GE lit course.

Dorothy Noyes

TuTh 9:35 – 10:55 a.m.

The Fairy Tale and Reality

Most of us associate the fairy tale with magic and fantasy. This course considers the many ways in which fairy tales call us back to the "real" world; in fact, the modern Western world. We'll look first at the fairy tales of oral tradition as a kind of peasant survival guide, with examples from Italy, India, Ireland, and beyond. Then we'll see how the genre was domesticated and standardized in print and film, creating prominent models of selfhood and success along the way- a trajectory taking us from Perrault to the Grimms, to Hans Christian Andersen and Horatio Alger, and finally to Soviet children's writers and Walt Disney. There was always subversion on the sidelines, however, and we'll look at other writers and filmmakers who bend or break the dominant fairy tale script.

In all these transformations, fairy tales explore the tension between three ways individuals can respond to the promise of modern society: playing the game to win, escaping the game, and changing the rules. But what happens when we lose faith in the game? In a group project we'll survey what has been happening lately to the fairy tale plot in popular culture. There will also be two exams.


English 3378—Special Topics in Film and Literature

Karen Winstead

WeFr 9:35 – 10:55 a.m.

Monsters Without and Within

Storytellers have long used monsters not only to frighten us but also to jolt us into thinking more deeply about ourselves, others, and the world we live in.  No film can be totally faithful to a written source; filmmakers perforce use different methods than do writers to tell their stories, to thrill and provoke.  However, this course focuses on films that aggressively transform their literary sources - reinterpreting characters and retooling plots to create monsters that offer different visions of what we have to fear and of how we can (or cannot) overcome the monsters without and within. 

We will move from dragons and humanoids to vampires, zombies, ghosts, androids, and psychopaths.  Our sampling of classics old and new will include Frankenstein, Dr. Jekyll and Mr. Hyde, Dracula, I Am Legend, and The Shining.  

Requirements will include weekly online quizzes, short papers, and a final exam.


English 3379—Methods for the Study of Writing, Rhetoric and Literacy

Jonathan Buehl

WeFr 11:10 a.m. – 12:30 p.m.

English 3379 is an introduction to three fields that make up of one of the Department's concentrations in the English major: Writing Studies, Rhetoric, and Literacy Studies. We will discuss the history of these fields, the types of research problems that scholars in these fields investigate, and the theories and methods scholars use to study those problems. This course is also an introduction to being a student-scholar in the WRL concentration.  We will discuss and practice approaches to reading, research, and research-based writing that will help you succeed in this course as well as your other courses in the WRL concentration.

Assignments may include quizzes, a midterm exam, short homework assignments, short presentations, and a research paper


English 3398—Methods for the Study of Literature

Adeleke Adeeko

TuTh 12:45 – 2:05 p.m.

This is a course on what we do, often implicitly, when we read and write about literature and culture. We will concentrate on methods of reading literary texts for the purpose of writing about how they convene readers to appreciate their form as literature. We will also study approaches that reading audiences bring to their making worldly sense of the texts.

Jacob Risinger

WeFr 2:20 – 3:40 p.m.

In this gateway course, we'll take our cue from one of George Orwell's famous lines: "If people cannot write well, they cannot think well, and if they cannot think well, others will do their thinking for them."

Over the course of the semester, our weekly readings, discussions, and informal exercises will work to annihilate old patterns of complacent reading-leaving in their place the analytical skills and rhetorical strategies you need to establish your own critical/original perspective on literary texts.   We'll attend to the practical work of conducting literary research and writing solid, well-argued essays - but we'll also practice using literary theory and various methods of criticism to identify new levels of meaning, even in familiar or (seemingly) straightforward texts.

The hard work of writing and analysis will be supplemented by an array of engaging texts.  Well start with The Winter's Tale - one of Shakespeare's "problem plays" - and end with Tom Stoppard's recent play The Hard Problem.  Along the way, we'll read (among other things) lyric poetry by W.B. Yeats, Elizabeth Bishop, and Seamus Heaney; short stories by James Baldwin and Raymond Carver; and Jesmyn Ward's novel Salvage the Bones (recipient of the 2011 National Book Award). 

Requirements will include attendance, active participation, informal writing exercises, short essays, and a longer final essay.

James Fredal

WeFr 12:45 – 2:05 p.m.

Serves as the "Methods" course for the Literature and Creative Writing concentrations within the English major. Its purpose is to familiarize students with literary studies in such a way as to prepare them for advanced courses in all literary fields and the genres of Creative Writing. Required of English majors. Open to English majors only or others by dept permission.
Prereq: 1110.01 (110.01) and declared major in English. Sr students must have the permission of the Director of Undergraduate Studies. Not open to students with credit for 2298, 3398H (398H), 302, 398, or 398H.

Jessica Prinz

TuTh 3:55 – 5:15 p.m.

The purpose of this course is to read broadly in the history of American and British literature with the goal of improving reading and writing skills. All key genres of literature will be considered (fiction, drama, and poetry). We will also devote a significant portion of the class to the various theories used to analyze literature ("critical theory"). Our primary text will be the anthology, A Little Literature (eds. Barnet, Berman, and Cain) as well as other texts to be assigned later. Requirements include several writing assignments, two exams,  and participation in class discussions.


English 3405—Special Topics in Professional Communication

TBA

TuTh 9:35 – 10:55 a.m.

Proposal Writing

Proposals are documents that solve problems and help people and organizations make decisions. Good proposal writers are essential for many organizations, such as nonprofit groups that rely on grants to fund their operations and companies that compete for government contracts. In this class, you will learn about proposal-writing processes and practice writing proposals for real organizations. Our overarching goal will be to help our partner organizations secure new resources through grant proposals. In pursuing that goal, you will learn about the entire proposal development process-from analyzing the needs of clients and funders and identifying good funding opportunities to analyzing RFPs and creating feasible, affordable, and funding-worthy proposals. You'll also write a series of smaller proposals to help organize our collaborative work. Proposals are often large documents, and proposal writing is typically a collaborative endeavor. Therefore, part of this class will be dedicated to developing and practicing collaborative writing skills and strategies. We will examine and work with project-management and document-management systems used in contemporary workplaces to manage the complex workflows of proposal writing. 

Note: Grant proposals for scientific research grants will not be a primary focus of this class, though some of the skills we practice may translate to scientific grant writing.


English 3465—Special topics in Intermediate Fiction Writing

Alexander Odendahl

Mo 9:20 a.m. – 12:05 p.m.

Our goal in this class is to better understand the craft of writing fiction, partly by studying the work of the masters, and partly by making our own foray into the grueling and yet oddly fulfilling (I hope) world of the fiction writer. We will read several short stories, focusing not only on our experiences as readers, but also approaching these works as fellow writers, studying how the authors have taken seemingly mechanical elements - plot, point of view, theme, symbol, style, structure, and other words that probably start with s - and created pieces greater than the sum of their parts: works of art that still surprise us decades after they were written. Then, from what we learn, we'll write our own stories.

Major assignments: Each person will write a short story to turn in to the class for workshop, and the final "project" will be to revise that story and make it the best that it can be.

Class readings will include but aren't limited to:

Flannery O'Connor
Richard Yates
Chimamanda Ngozi Adichie
Zadie Smith
Ernest Hemingway
Richard Bausch
Aimee Bender
Jennifer Egan
Italo Calvino
Yiyun Li
Graham Greene
F. Scott Fitzgerald
Lorrie Moore
JD Salinger

Cady Vishniac

Tu 9:10 – 11:55 a.m.

Revising Your Short Story

What sort of story gets its author admitted to a top MFA program, or published in the New Yorker, or even nominated for a Booker or Nobel? Whose sentences will ring in our ears years after we turn the last page?

The popular notion is that these writers are geniuses, people whose words always come out perfect on the first try. But the popular notion is wrong. Writing a good short story is a process that can and should take months, and many drafts. So that's what we'll be doing in this course: writing one story, then revising, revising, revising, making precisely one story as close to perfect as we can get it. On our last day of class, we will discuss submitting fiction to magazines and applying to funded degree programs in writing.

Noelle O'Reilly

Th 12:40 – 3:25 p.m.

Retellings

In this intermediate fiction writing course, we will read and analyze contemporary stories that were inspired by fairytales, myths, and other classic tales. We will study both the original text and the modern retelling, seeking to understand how stories can borrow from the past but still stand on their own. For example, we will read the Brothers Grimm fairy tale "Hansel and Gretel" alongside Michael Cunningham?s short story "Crazy Old Lady." Cunningham borrows elements of the Grimm?s plot, but sets the story in modern times and tells it from the perspective of the witch. 

When we read Lauren Groff's 2006 short story "L. Debard and Aliette," we will also examine the 12th century letters upon which the story is based. In the second half of the semester, students will use a classic tale to inspire a short story of their own. This story will be workshopped by the class and then revised. The workshop will require students to analyze the work of their peers and provide constructive feedback.


English 3466—Special Topics in Intermediate Poetry Writing

Jacob Bauer

We 12:40 – 3:25 p.m.

Ekphrastic Poetry and Art Making

This will be an art-making course. A poetry course. A course that explores the relationship between art and poetry and blurs the boundaries between the two. "No ideas but in things" concrete poet Ian Hamilton Finlay once quipped. We will workshop student poems, created each week in response to various prompts. We will be investigating poetry that engages with and bisects other art forms. Beginning with ekphrasis -poems that respond to other art works in a variety of ways - by the end of the semester we will have tried our hands at poems that actually take the shape of other art forms. To do this, we will engage with text art and visual poetry, as well as other art forms.

Although writing-focused and craft-driven, this will be a multi-modal course in which students think critically about how a poem is made. This includes standard concerns such as the line, diction, syntax, and form, but will also consider how poems work on and off the page. We will look at ekphrastic poems from across the 20th and 21st centuries, but also across disciplines for models, including pieces by artists working with poetry in other mediums, including William Blake, Jenny Holzer, Kendrick Lamar, and Babi Badalov.


English 3468—Special Topics in Intermediate Creative Nonfiction Writing

Sonya Bilocerkowycz

Tu 4:20 – 7:05 p.m.

For students who have experience with the basic elements of writing creative nonfiction. Special topics focus on particular aspects of the genre; advanced techniques are explored.
Prereq: Grade of C or above in 2268. Repeatable to a maximum of 6 cr hrs.


English 3662—An Introduction to Literary Publishing

David Bukszpan

Fr 12:40 – 3:25 p.m.

An introduction to the theory and practice of editing and publishing literature.
Prereq: 2265, 2266, 2267, or 2268. Not open to students with credit for 5662.01 or 662.

Suzannah Showler

Fr 12:40 – 3:25 p.m.

This class is a seminar and practicum in literary editing and publishing. Through scholarly and literary readings, we will examine issues of ethics and aesthetics surrounding how books and magazines get made. Students will also work on acquiring some of the basic skills demanded by the publishing industry: substantive editing, copy-editing, fact-checking, design, innovation, aesthetic vision, etc. The course is designed around each student executing a major project of their choosing-something that will contribute to their job portfolios and/or development as a human. This class is aimed at self-starting, motivated students keen to develop skills and think seriously about literature and the industry surrounding its production.


 

English 4150—Cultures of Professional Writing

TBA

TuTh 9:35 – 10:55 a.m. | 11:10 a.m. – 12:30 p.m. | WeFr 12:35 – 2:05 p.m.

Working both individually and collaboratively, you will conduct research, strategize, and produce work-world-ready text in a number of genres and media. Learn how to:

(1) analyze the ways writing discourse shapes workplaces
(2)  enhance your professional writing skills and accuracy
(3)  craft texts for social media and other workplace platforms.

You will also explore the role of working writers in their organizations and present your findings as part of a panel on contemporary workplace writing.

English 4150 is a required course for the Minor in Professional Writing and a prerequisite for the professional writing internship.


English 4189—Professional Writing Minor: Capstone Internship 

Patricia Houston

Mo 12:10 – 2:10 p.m.

Students work onsite in an organization doing writing-related work and meet weekly to discuss related topics.
Prereq: 4150 or CSTW 4150, and 2 courses in Professional Writing minor. Not open to students with more than 6 cr hrs of CSTW 4191. Repeatable to a maximum of 9 cr hrs. This course is graded S/U.


English 4400—Literary Locations

Jennifer Higginbotham

WeFr 2:20 – 3:40 p.m.

Athens and Greece

For centuries, Greek culture, philosophy, and literature has fascinated writers in the English tradition. Athens as a place shows up in the plays of Shakespeare and the poetry of Byron, and the genres developed by Greek writers have been integrated as tragedy and comedy, the modes of epic and lyric, and the forms of elegy, epigram, and Sapphic. In this class, we'll be reading Greek literature such as The Odyssey and Cavafy's poems alongside English works inspired by Greece and modeled after Greek writers. 

At the end of the semester, we'll compare our imaginations with the experience of a lifetime, exploring the landscape and ruins of Athens, the oracle at Delphi, the ancient theater at Epidavros, the quaint city of Nafplion, and the island of Corfu, places that shaped and have been shaped by English literary history.

Students admitted to the Spring 2017 Literary Locations program will enroll in English 4400 (3 credit hours) during the Spring 2016 semester and English 5193 (1 credit hours) during the 1st summer session for the trip abroad.

Navigate go to https://oia.osu.edu/ via the browser of your choice.  Select "Education Abroad," and "Getting Started," then search programs by country - Greece.  Select Literary Locations Greece and follow instructions for submitting your application.


English 4515—Chaucer

Ethan Knapp

Tuth 11:10 a.m. – 12:30 p.m.

Why take a course on Chaucer?  Chaucer's stories are some of the funniest, smartest, most beautiful and radically experimental works ever written.  You'll be surprised that medieval literature looks like this, and surprised to find how modern it feels.  The aim of this course will be to introduce students to these stories, starting with his early works and leading up to a reading of large sections of his most famous project, The Canterbury Tales.  Chaucer's poetry offers a window onto an usually exciting moment of political, cultural and philosophical transformations, and we will read these works with close attention to the society and culture in which they were produced.  Students will also acquire a familiarity with Chaucer's Middle English.  Requirements will include a short paper, midterm and final exam.


English 4520.01—Shakespeare

Luke WIlson

TuTh 2:20 – 3:40 p.m.

Critical examination of the works, life, theater, and contexts of Shakespeare. 
Prereq: 6 cr hrs in English at 2000-3000 level, or permission of instructor. 5 qtr cr hrs of 367 or 6 sem cr hrs of 2367 in any subject are acceptable towards the 6 cr hrs. Not open to students with credit for 520 or 520.01.


English 4520.02—Special Topics in Shakespeare

Hannibal Hamlin

WeFr 12:45 – 2:05 p.m.

The Tempest and its Afterlives

Shakespeare is the most widely known and most influential author ever to have written in English, or perhaps any language. Many of his plays have been performed continually over the last four centuries, and they have been adapted into every artistic medium imaginable, in languages and cultures across the world: novels, plays, poems, films, ballets, operas, and comics.

This course will begin with an intensive study of Shakespeare's magical desert island Romance "The Tempest" in its own time (being performed this spring by the English Department's Lord Denney's Players), as well as its background in tales of New World encounters (including Montaigne's essay "On Cannibals"), utopian fantasies, and stories of sorcerers and magic. We'll then sample some of its fascinating afterlives: Thomas Shadwell's Restoration opera, "The Enchanted Island;" Aime Cesaire's postcolonial Caribbean play, "Une tempete" (and Roberto Fernandez Retamar's influential essay, "Caliban: Notes Toward a Discussion of Culture in Our America"); W.H. Auden's long poem "The Sea and the Mirror," and shorter poems by Robert Browning, Kamau Brathwaite, and Safiya Sinclair; "The Diviners" by Canadian novelist Margaret Laurence; and two very different films, the sci-fi classic "The Forbidden Planet" and Peter Greenaway's postmodern fantasy, "Prospero's Books."

Evaluation will be based on two essays, a midterm, and a final exam, as well as participation in class discussion.


English 4522—Renaissance Poetry

Sarah Neville

TuTh 9:35 – 10:55 a.m.

The Faerie Queene

Dragons. Knights. Swordfights. Magicians. Princesses. Satyrs. Tournaments of Champions. King Arthur. Giants. Enchantresses. Secret meanings. Symbolism. Righteous English patriotism. A desperate plea for patronage. And that's just the first book. Edmund Spenser's The Faerie Queene is a rollicking adventure story, a powerful national epic, a searching philosophical meditation and guide for moral conduct, a profound exploration of renaissance theology, a pointed critique of traditional attitudes toward gender and class, a wildly imaginative work of fantasy, and a deeply beautiful poem unto itself.  This is unquestionably one of the most fascinating and complex works in all of English literature. In this course we will read the whole poem - all six books and change - paying special attention to historical questions about gender, class, politics, science, and religion.

Reading all of The Faerie Queene is a major accomplishment that few people ever attempt   - Publishers' Weekly named it one of the Top Ten Most Difficult Books - making it the Everest climb on an English major's bucket list and lifelong bragging rights. Are you brave enough to take the challenge? Students will be evaluated by reading quizzes, short essays, and a final creative project.


English 4523—Special Topics in Renaissance Literature and Culture 

Jennifer Higginbotham

WeFr 9:35 – 10:55 a.m.

The Intersectional Renaissance

This course will focus on the intersection of race, class, gender, sexuality, religion, nationality, and other identity categories in Renaissance literature. Using theories of intersectionality, we will examine texts such as the first original play published by an Englishwoman, early works of science fiction such as Margaret Cavendish's The Blazing World, Shakespeare's poems, and travel narratives.


English 4535—Special Topics in Restoration and Eighteenth Century British Literature and Culture

David Brewer

TuTh 9:35 – 10:55 a.m.

The Invention of Celebrity

This course will investigate the invention of celebrity (and celebrities) over the course of the eighteenth century, generously defined.  Fame has been around since antiquity; celebrity began sometime between 1660 and 1820.  In so doing, we'll try to get a new vantage point from which to assess our own culture of celebrity.  Some of what we'll be considering will seem quite familiar, despite all the wigs.  Some of it will seem deeply weird, perhaps even alien or off-putting.  Either way, though, you should come away from this course with not only a fresh sense of both the eighteenth century and our present moment, but also the often twisted and counter-intuitive connections between the two.  For better or worse, we are the heirs of the eighteenth century in far more ways than just our political system.

We will range widely in our readings and viewings.  Among the issues and areas we'll consider are plays and their performers (including the ways in which actors bring the ghosts of their former parts to their new roles), politics (royalty are in many ways the first celebrities), portraiture (from high-end paintings by the likes of Reynolds and Gainsborough on down to cheap woodcuts), and prostitution (a surprising number of early celebrities were at least at the fringes of the sex trade).  We'll also consider what light this can all shed on the emergence of novelistic characters (some of whom became every bit as well known as flesh-and-blood celebrities) and on the advent of authorial celebrity:  mostly notably that of Shakespeare (200 years after his birth) and Byron.

Assignments will include active and "game" participation in our discussions, three short written exercises (at least one of which will involve working with material from our Rare Books and Manuscripts Library), and a final project, whose form can be negotiated (it need not be a paper).


English 4540—Nineteenth-Century British Poetry 

David Riede

WeFr 2:20 – 3:40 p.m.

We will focus on the major British poets of the nineteenth century, embracing both the Romantic and Victorian periods. In addition to reading the works carefully in their historical contexts, we will study distinctive characteristics of each period and particularly the continuation and modification of Romanticism in the Victorian period. Poets considered will include Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, Tennyson, Elizabeth Barrett Browning, Robert Browning and others. Requirements: brief presentation, active participation in class discussion, several short in-class essays, one short research paper (4-6 pages).  The textbook for the class is The Longman Anthology of British Literature, volume B (Second Compact Edition).


English 4542—The Nineteenth-Century British Novel

Clare Simmons

WeFr 12:45 – 2:05 p.m.

Victorian Britons  loved novels.  In the Victorian period, the novel became the dominant literary form in Britain, providing a means both to express cultural anxieties and to escape them.  A loose theme for this course is the representation of social class in the novel, raising such questions as how novels delineate class distinctions; the respective roles of men and women in society; and the representation of outsiders.  We will consider not only what story is told, but also how the story is told, and how the novel form responds to both material and cultural changes over the course of the nineteenth century. 

Probable texts: Emily Bronte, Wuthering Heights; Wilkie Collins, The Moonstone; Charles Dickens, Our Mutual Friend; George Eliot, Silas Marner; Thomas Hardy, Tess of the D'Urbervilles; H.G. Wells, The Time Machine. 

Requirements are careful reading in advance; regular attendance; active participation; two essays; quizzes/reading questions; midterm and final exam.


English 4549—Modern Drama

Francis Donoghue

TuTh 3:55 – 5:15 p.m.

This course will survey some of the most important plays of the twentieth-century.  We'll begin with two works by the Irish playwright, George Bernard Shaw, Pygmalion and Major Barbara.  Then we'll move to the U.S. and read Lillian Hellman's The Children's Hour, Lorraine Hansberry's A Raisin in the Sun, Arthur Miller's Death of a Salesman, Edward Albee's Who's Afraid of Virginia Woolf?  We'll then read David Mamet's Glengarry Glen Ross and Oleanna, and conclude with Margaret Edson's Wit.

Throughout the course, we will conduct a variety of interactive exercises designed to underscore the unique features of drama as a genre.  Most important among these is that plays performed on stage entail layers of interpretation.  The author "merely" writes the play, sometimes, but not always offering detailed stage directions.  Then the producer and director make an assortment of decisions about how the sets should look, how the play should be cast, and even whether the text of the play should be kept intact or amended.  Finally, each actor must make a host of interpretive decisions about the character that he or she plays.  We will examine these layers in class, look at adaptations, and work through these issues in class.

Course requirements:  two papers, a midterm, a comprehensive final and several short in-class exercises.


English 4551—Special Topics in 19th-Century U.S. Literature 

Andrea Williams

WeFr 9:35 – 10:55 a.m.

Work and Class Inequality

The U.S. often has been considered a "classless" society, in which individuals earn rather than inherit their status. But does this characterization fully explain disparities in Americans' wealth, health and employment? This course examines how nineteenth-century American writers wrestled with questions of class inequality and social mobility in their fiction. What defines "honorable" work and a "good living," especially amid conditions of slave labor, child labor, women's work, and industrialization? How do race and gender impact people's chances for upward mobility? Can literature about class difference actually motivate social reform?

We will read works by Edith Wharton, Charles Chesnutt, William Dean Howells, Paul Laurence Dunbar, Maria Amparo Ruiz de Burton, Jack London and others. Written assignments may include two short response papers (5 pages), discussion posts to CARMEN, quizzes, and a final essay (8-10 pages).


English 4553—20th-Century U.S. Fiction

Mark Conroy

WeFr 11:10 a.m. – 12:30 p.m.

Course will examine the shifts in American literary fiction between the close of World War One and the 'sixties.  Hemingway (probably "In Our Time"), Fitzgerald ("Tender Is the Night"), Willa Cather ("The Professor's House"), Zora Neale Hurston ("Their Eyes Were Watching God"), and Nathanael West ("Miss Lonelyhearts") would account for the interwar years; John Cheever's stories, Vladimir Nabokov ("Lolita"), probably Walker Percy ("The Moviegoer") and perhaps Richard Yates ("Revolutionary Road") for the postwar 'fifties.  Brief papers, possibly three, with an oral report and a final, are the likely assignments.

Francis Donoghue

TuTh 11:10 a.m. – 12:30 p.m.

This will be a very unconventional approach to this very popular course in the English department's curriculum.  We will first read each of the main texts - Theodore Dreiser's Sister Carrie, F. Scott Fitzgerald's The Great Gatsby, Walter Tevis' The Hustler, and Patricia Highsmith's The Talented Mr. Ripley - conventionally:  analyzing the novels' plots, characters, central themes - just as you would expect from any upper level English course.  However, once we've covered each novel we will then consider it as if it were a case study in a graduate level business course.  That is, we will ask:  "Did major characters make optimal decisions, and if they didn't, what else might they have done?"  We will, in other words, first talk about the novels in a way typical of English studies, and then talk about them in a way that engages the analytical tools and rhetoric of a very different academic discipline.  English and business may inhabit independent schools at Ohio State, but we need to remind ourselves that we are also part of the same university. 

Requirements:  there will be one short paper, a final paper, and a final exam.  Instead of a midterm, there will be intensive small group work and in-class presentations.


English 4554—English Studies and Global Human Rights

Thomas Davis

WeFr 9:35 – 10:55 a.m.

Human Rights and Environmental Justice

Do we have a right to more fossil fuels if their use will make the planet less inhabitable for future generations?  Should we be having children in the era of climate change?  Should the nation-states historically responsible for the majority of carbon emissions pay reparations to the poorer states suffering from a warming planet?  How do we address environmental racism? What do the wars, revolutions, and refugee crises across the globe have to do with the environment? 

The most contested human rights issues of our young century overlap with our ongoing environmental crisis and, in the process, force us to rethink the "human" and the concept of "rights."  To approach these questions, we will focus on a global archive of fiction, creative non-fiction, activist events, philosophy, and artistic production. 

Authors may include: Ken Saro-Wiwa, Wangari Maathai, Winona LaDuke, Pope Francis, Helon Habila, Stacey Alaimo, Naomi Klein, Elizabeth Kolbert, Sarah Conly, Indra Sinha, Anna Tsing, Joe Sacco, and China Mieville.  We will also keep our eyes on current events as they unfold in front of us.


English 4559—Introduction to Narrative and Narrative Theory

Amy SHuman

TuTh 12:45 – 2:05 p.m.

Stories give shape to our everyday life experiences.  We tell stories about ourselves, about others, about trivial interactions that fade from memory, and about life changing events.  In this course we explore who tells stories to whom and in what contexts.  We'll examine narrative form, genre, performance, repertoire and interaction. 

Final Assignment: Term paper based on narrative either from literature or everyday life.

Readings: All readings will be posted to Carmen/Canvas


English 4560—Special Topics in Poetry

Elizabeth Renker

MoWe 11:10 a.m. – 12:30 p.m.

Alternative Rock Lyrics as Poems

Before the twentieth century, poetry was as popular as music is today. Close links between these forms of art date back to the ancient world. The term "lyric," which now describes a kind of first-person "subjective" poem, originally comes from a stringed musical instrument, the lyre.  One of poetry's oldest terms for itself is "song."  Our class explores the intersections between these sibling art forms.  We will study song lyrics as themselves a vital part of the history of poetry.  Our method will be to pair poems written over the past four centuries with recent songs that explore similar themes or forms.  For example, we might pair Arcade Fire with T.S. Eliot; St. Vincent with Robert Frost; John Donne with The Smiths; Emily Dickinson with Talking Heads; Neutral Milk Hotel with Edwin Arlington Robinson; The Antlers with Stars; Jackson Mac Low with Animal Collective; or Sharon Olds with Radiohead.

Over the course of the semester, class sessions will also include several videoconference sessions with working musicians from the local and national scenes who will talk to us about writing lyrics and about our interpretations of their songs. We will also review various schools of interpretation and literary theory in English studies and consider their implications for our analyses.  I will send a poll to all enrolled students prior to the start of term so that I can integrate some student suggestions about bands and songs into our syllabus.  Students have suggested that it would be helpful for me to include an introduction to the basics of poetic form, such as how to detect and identify meter, so we will learn and review those concepts and continue to practice with examples as our class progresses.

Textbooks: a poetry anthology. 

Requirements: daily attendance; daily participation; daily quizzes; two 5-page close-reading papers; periodic short written exercises; and a final 8-10 page analytical paper or creative project.


English 4563—Contemporary Literature

Jessica Prinz

Tuth 2:20 – 3:40 p.m.

Literature of the 20th and 21st Centuries

We will read broadly in the area of 20th and 21st Century fiction, focusing on the theme of science.

Although "science fiction" is a genre devoted to science and its  fusion with literature, we will be looking at other genres as well, as we explore some of the central concerns and  themes of the period.

Among works that may be considered are: Pynchon, "The Crying of Lot 49"; Zadie Smith,"White Teeth"; Egan, "A Visit from the Good Squad"; Delillo, "White Noise"  Calvino, "If on a Winter's Night a Traveler" -- and stories by many other excellent writers, including Kurt Vonnegut,Don Delillo, and William Gibson. Some writing and exams (and especially participation) will be required.


English 4565—Advances Fiction Writing

Memory Risinger

Mo 9:20 a.m. – 12:20 p.m.

To quote John Gardner, "Fiction does not spring into the world fully grown, like Athena.  It is the process of writing and rewriting that makes a fiction original, if not profound."  This advanced course will seek out that originality by focusing on the writing and rewriting process.  Students who enroll in 4565 will write two new, original short stories and revise one.  They will also participate in a weekly workshop and complete weekly writing exercises.

Admission to English 4565 is by permission of instructor only. To be considered, please submit a sample of your best work (20 pages max) to risinger.15@osu.edu by December 1st. I will contact you regarding your enrollment status as soon as possible after the deadline.


English 4566—Advanced Poetry Writing

Zoe Thompson

Mo 12:40 – 3:25 p.m.

Advanced workshop in the writing of poetry. This is a class for serious students of creative writing. Admission is by portfolio submission to the instructor.
Prereq: 2266 and permission of instructor. Not open to students with 9 sem cr hrs of 4566 and/or 4566E. Repeatable to a maximum of 9 cr hrs.


English 4568—Advanced Creative Nonfiction Writing

Lee Martin

Tu 4:20 – 7:20 p.m.

The focus of this course will be the study and practice of the craft of literary nonfiction in a workshop setting. We'll consider matters of narrative structure, scene construction, dialogue, pacing, reflection, persona, voice, reportage, fragmentation, and other issues relevant to our consideration of craft. Always, we'll ask the question, "What makes this essay memorable?" I'll ask each student to present two essays for workshop discussion. Students should be ready to participate in the workshop discussions by preparing written comments on the essays under consideration. Not only will I expect students to write comments on the workshop copies, I'll also ask that they prepare a written summary letter to be given to each writer at the end of the workshop discussion.  At the end of the semester, I'll ask each student to turn in a significantly revised version of one of the two essays that he or she presented to the workshop.

To be considered for this course, please submit a writing sample-a complete essay of no more than 20 pages-to Professor Lee Martin at martin.1199@osu.edu by November 23, 2016.


English 4569—Digital Media and English Studies

Scott DeWitt

TuTh 2:20 – 3:40 p.m.

Digital Messaging and Storytelling

This course will take up the study of digital media and its relationship to messaging and storytelling. Students from across areas in the Department of English or in majors outside of English will work on a series of short form digital projects using rich media.  The most significant part of this course focuses on the "P" word:  Production.  This course is structured mostly as a studio class, where we will be working together in one of the Digital Media Project's classrooms.  Some of you may have experience with the technologies we will compose with.  For those of you new to these technologies, I will teach you more than you need to know to be successful in this class.  Please do not let your lack of experience with technology intimidate you. 

You will not be asked to purchase a textbook for this class.  Also, you will have access to cameras, audio recorders, and computers from The Digital Media Project.  You may need to spend a small amount of money on materials (things like batteries, for example).  I will strongly (perhaps I should say "very strongly") recommend that you purchase an external hard drive for which you will find a great deal of use after this class ends.  I will advise you on this purchase once class begins.

This class can be used to fulfill the Digital Media requirement in the Writing, Rhetoric, and Literacy concentration for the English Major.


English 4571—Studies in the English Language

Gabriella Modan

TuTh 2:20 – 3:40 p.m.

The Sociolinguistics of Talk

The dinnertable conversations, class discussions, chats while exercising, arguments, and joking that we engage in every day are rich with pattern and meaning. This course is an introduction to the analysis of spoken language, with a focus on ordinary conversation. The course will not help you to become a better public speaker. Instead, you will learn about the mechanics of conversation: how do we start and end conversations, decide when it's our turn to talk, show politeness or interest, create identities for ourselves and others through our talk?

With a focus on face-to-face interaction, we'll examine how speakers utilize social context in talk and exploit language in order to achieve their goals, as well as how their goals sometimes get thwarted, in everyday settings. Topics covered include turn-taking and interruption, politeness, discourse markers such as "like" and 'y'know', cross-cultural communication, and language and power.


English 4572—Traditional Grammar and Usage 

Lauren Squires

WeFr 12:45 – 2:05 p.m.

You will learn to describe and analyze the structure of English sentences, acquiring technical terminology and the skills needed to represent sentence structure through diagrams. Rather than memorizing and applying rules for "correct" English, you will become familiar with the concepts and patterns of grammar from a linguistic -- a scientific -- perspective. The focus of the class is not "how to write well" or "how to have good grammar." Instead, we will seek to understand the linguistic principles that underlie all speaking and writing in English. This will ultimately equip students with the skills to more critically understand speaking and writing style, including "good writing" and products designed to encourage it, such as usage handbooks.


English 4573.02—Rhetoric and Social Action 

Nancy Johnson

TuTh 11:10 a.m. – 12:30 p.m.

In this course, we will examine how rhetoric ( persuasion) is used  to  motivate social action and change.  Our central questions will be: How does social and cultural change happen? Why do people change their minds about beliefs and values? We will examine a range of rhetorical strategies used in social movements  including non-fiction, popular culture,  forms of rhetorical protest and performance,  film, fiction, poetry, oratory, pamphlets, posters, advertisements, periodicals, web communication systems, legal action, and music. Crucial concerns such as context, age, race, gender, region, historical period, ethnicity, and life style will also be stressed as major considerations in rhetorical analysis, a method that reveals how arguments work and why.

Readings and Texts:  Selzer, Jack. Argument in America: Essential Issues, Essential Texts. Penguin Academics, 2004. Available at SBX. Other readings will be provided by the Instructor.

Students will write a Mid-Term Essay, a Final Essay, short reading response paragraphs, and small group as well as class discussion. Participation is an expectation.


English 4578—Special Topics in Film

Mark Conroy

WeFr 2:20 – 3:40 p.m.

Crime & Punishment

Course plans to explore the various ways in which Hollywood film has depicted the relationship between criminal acts and punishment.  Sections to include the classic age of crime, the 'forties ("Double Indemnity," "Mildred Pierce," "Out of the Past"); neo-gangster film ("Bonnie and Clyde," "GoodFellas," "Godfather II"); celebrity culture and criminality ("Taxi Driver," "To Die For," "Sunset Blvd," "The Player"); and a separate Hitchcock section ("Shadow of a Doubt," "Strangers on a Train," 'The Wrong Man").  Texts will include Naremore's "More than Night."  Assignments: two short papers, a longer paper, and a final.

Sean O'Sullivan

WeFr 9:35 – 10:55 a.m.

Television, Narrative, Seriality

This course will consider central questions of televisual art and narrative, focusing on the first seasons of three recent series: The Wire, Mad Men, and Orange Is the New Black.  What are the basic narrative practices and structures of television - and serial television in particular?  How are storyworlds created?  What are the strategies and effects of devices such as the episode and the season?  How does character operate within television narrative?  How does televisual storytelling organize space and time?  What are the consequences of genre conventions and audience responses?  A recurring subject for the class will be the tension between the episodic and the serial - between individual aesthetic experiences and sprawling fictional universes. 

Assignments: 1-2 episodes and 1 reading per class meeting.  Requirements: three essays, regular quizzes, active participation.


English 4580—Special Topics in LGBTQ Literatures and Cultures

Martin Ponce

TuTh 12:45 – 2:05 p.m.

Reading Race and Sexuality

This course considers the difference that race makes when thinking about the possibilities and limitations of "queer" as an analytical framework, category of identification, and basis for political activism. Through readings of 20th and 21st literary and scholarly texts, we will explore the following questions: How have racial difference and sexual deviance been mutually connected in colonial, sexological, and state discourses? How have ethnic and indigenous writers challenged these histories of European and U.S. colonialism, racialization, and gender and sexual violence? To what extent has the mainstreaming of gay and lesbian politics since the 1980s been predicated on a separation of sexuality from racial difference and devaluation? In what ways have these homonormative aspirations impacted not only racial others in the U.S. but also queer formations and politics in other parts of the world?

Possible authors include: Kazim Ali, James Baldwin, Alison Bechdel, Alexander Chee, Thomas Glave, Nella Larsen, Audre Lorde, Deborah Miranda, Janet Mock, Shani Mootoo, Richard Bruce Nugent, Monique Truong, Jose Garcia Villa, Edmund White, Craig Womack.

Requirements: attendance, participation, two short presentations, one close-reading paper, one research project.


English 4583—Special Topics in World Literature in English

Adeleke Adeeko

TuTh 9:35 – 10:55 a.m.

Young, Brash, Wordly, &, African: the Afropolitan Writers

This class will focus on fiction and poetry (written and spoken) by Anglophone writers of African descent who came of age in the last decade and termed themselves Afropolitans because their lives range over continents -mainly North America and Europe - and their cultural and artistic preoccupations refuse to leave Africa alone.

We will read stories and poems by Chimamanda Adichie, Helen Oyewumi, Taye Sellasie, Doreen Baingana, Chris Abani, and Dinaw Mengestu. We will also analyze one or two "Nollywood" movies and a few Hip-Life recordings.

Students will be expected to attend classes regularly and punctually, participate in class discussions, and write three papers.


English 4591.01H—Special Topics in the Study of Creative Writing

Lina Ferreira

We 5:30 – 8:30 p.m.

The Devil is in the Lit: from Dante's Inferno to Hellboy

This course is a seminar on the devil in literature with a creative writing component.

A semester long exploration of the literary nature of evil, horror, rebellion and subversion through the recurring satanic metaphor in texts ranging from Bulgakov's The Master and Margarita, to Milton's Paradise Lost and Mignola's Hellboy.


English 4592—Special Topics in Women in Literature and Culture

Roxann Wheeler

TuTh 2:20 – 3:40 p.m.

Using feminist perspectives, students will learn to analyze literature and other cultural works (film, television, digital media) written by or about women. Time period and topic vary.
Prereq: 10 qtr cr hrs or 6 cr hrs of English at 2000-3000 level, or permission of instructor. 5 qtr cr hrs in 367 or 3 cr hrs in 2367 in any subject is acceptable towards the 6 cr hrs. Not open to students with 10 qtr cr hrs for 592. Repeatable to a maximum of 6 cr hrs.


English 4597.02—American Regional Cultures in Transition

Dorothy Noyes

Tuth 12:45 – 2:05 p.m.

Appalachia, Louisiana, and the Texas Border Country

This course will introduce you to the folklore of three American regions. Each is famous for its traditional culture, but each is often thought of as deviating in a distinctive way from the national culture: Louisiana is "creole," Texas is "border," and Appalachia is "folk." While exploring these differences, we'll also observe the commonalities: positive and negative stereotyping from outside, complex racial and class composition, heavy in- and out-migration, environmental distinctiveness and stress, extraction economies, tense and often violent relationships with both government and business. We'll look at historical change through the prism of celebrated folklore forms such as Louisiana Mardi Gras, Appalachian fairy tales, and the Tex-Mex corrido.

We'll also explore the impact of Hurricane Katrina and the reconstruction of the Gulf Coast, mountaintop-removal mining and the energy economy in Appalachia, and the cross-border trafficking of people, drugs, and capital.  A general question arises: what counts as America?

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