At last! It would be best not to jinx anything, but in-person classes are looking pretty probable for the coming fall semester. Now is the time to mentally prepare ourselves to ditch the sweatpants, and it is also a great time to decide what English classes you are interested in taking next semester. Below are responses from our English Department professors regarding the classes they will be teaching.
ENG 225 – Intro to Literary Studies with Prof. McDonald
Why you are excited to teach the course:
It’s fun to get a class of students who are early in their “English journey.” I think the history of Literary Criticism is really interesting, and some students come to realize that they have been using some of the critical lenses for a while without knowing they were. For instance, many majors are engaging in literary interpretation from a Formalist approach without realizing it.
A summary of course content:
Students will be introduced to the history of literary criticism and theory and will be invited to read texts through various lenses, including, but not limited to New Criticism, Reader-Oriented Criticism, Feminism and Queer theory, Post Colonialism, and African-American Criticism. Students will engage in conversation with literary critics through the use of the academic library and of online literary resources as part of the research process.
What students will be creating:
Several critical essays using research, and a presentation on a critical approach.
Assuming that classes are taught in person, what you are looking forward to about being back in the classroom:
I’m excited for the in-person energy that comes with being in a classroom. I really miss that.
ENG 302 – Survey in British Literature II with Prof. Brassard (Online)
Why you are excited to teach the course:
I’m especially excited to teach British Literature II for two main reasons: it is my area of specialization (especially the 20th century portion of the 1800-to-present time span), and this version of the course will use a ‘decolonization’ strategy to provide contextual information about imperialism, colonialism, and immigration as historical backdrops to the literature.
A summary of course content:
Are you a fan of Downton Abbey, The Crown, or Bridgerton, but also enjoy reading actual books and still believe in “real” history? Then this course might be for you. Ranging across time from 1800 to our present moment, with texts by authors from A(usten) to Z(adie Smith), this survey of representative British works will adopt a decolonized lens to read literature and culture as products of a society enmeshed in the conquest and exploitation of peoples and resources across the globe. In addition to reading literature analytically, you will be responsible for researching key historical events; viewing and reporting on films; and preparing questions and topics for our discussion-based class meetings. #history #gender #class #race #imperialism #immigration
What students will be creating:
Assignments will incorporate research and creativity to bring history to life as a key move to understand literary texts in their proper contexts. Students will watch films about historical moments outside class and report back through power point presentations; they will research key moments of British history and use that research to illuminate our primary texts; and they will be responsible for synthesizing scholarly sources about a literary text to deepen their understanding of literary history and various critical lenses.
This class is scheduled to meet virtually (via Zoom), and it will be jam-packed with great literature to dive into and discuss, especially if students are willing to engage with the material and share their insights with the group.
ENG 309 – Writing Workshop: Fiction with Prof. Warren
A summary of course content:
In this class we will advance the craft and ambition of student fiction writing, with an eye toward publication. Toward these ends, students will write and revise at least one short story or novel excerpt that will be evaluated by the class in workshop; write peer review feedback for each student story workshopped; maintain a weekly journal on fiction writing; and complete in-class and other exercises, as assigned. At the end of the term, students will submit a portfolio that will contain their journals, the first (pre-workshop) draft of their fiction, as well as the revised version of the work.
ENG 311 – Writing Workshop: Nonfiction with Prof. McDonald
Why you are excited to teach this course:
I teach ENG 311 every semester and it never ceases to be my favorite class. It is exciting to see students step out from the way they have been conditioned to write academically, and see them share their stories in various types of narrative and descriptive writing. There is a lot of freedom in the subjects students can write about.
A summary of course content / what students will be creating:
Students write and revise 4 or so essays. Revisions are ongoing, so there is no “one and done” grade, instead I want students to see their writing as something that evolves and improves because of drafting, peer feedback, and revision. Students read several essays most weeks and keep a reading journal. We have all sorts of fun workshops.
Assuming that classes are taught in person, what you are looking forward to about being back in the classroom:
I’m excited for the in-person energy that comes with being in a classroom. I really miss that.
ENG 311 – Writing Workshop: Nonfiction with Prof. Hannon
Why you are excited to teach the course:
I love teaching this course because without exception my students end up writing essays that delight, surprise, and impress me. I give them writing prompts and they consistently take me on surprising and engaging adventures. Our conversations always manage to impress me as well as they draw insights that spark even more questions. Also, I am excited by how much my students learn to trust each other as a community of writers.
A summary of course content:
Students will be exposed to various techniques and devices for writing in the non-fiction genre. Some of these include narrative essays, travel writing, profiles, braided or collage essays, topical essays, flash non-fiction, and more. The class is a workshop setting in which we read essayists, both published and non-published. Students will engage in various workshops and peer review groups.
Essentially, we read some amazing essays by some amazing essayists. We ‘lift the hoods’ of these essays and marvel at how they work, and then we write our own original pieces by tapping into our experiences and memories as well as our daring and imaginative thinking.
What students will be creating:
I have my students write 3 major essays and five shorter pieces. All of them fall under the category of literary non-fiction, as they explore ideas, memories, cultural, social forces, etc. We pay particular attention to telling true stories. All told, students write around 20 pages of original prose. Again, I provide the prompts and they get to decide what to write about.
Assuming that classes are taught in person, what you are looking forward to about being back in the classroom:
I can’t wait to interact with my students in the same room. While I believe I have been successful at forming a supportive community of writers online, having that in-person interaction with them and they with each other cannot be easily duplicated. We play off of each other better in person and draw more deeply from our wells of energy when we’re sitting next to each other.
ENG 317 – Writing Theory & Practice with Prof. Hiro
A summary of course content:
(Training for nominated Writing Assistants) Study of relevant research and theory from composition, rhetoric, linguistics, and psychology applicable to practice. Required for new Writing Assistants. (Prerequisite: 3.0 in writing courses, including ENG 107, ENG 112, or equivalent.)
ENG 351 – Satire with Prof. Swidzinski
Why you are excited to teach the course:
I’m excited to teach this course because satire is a strange and controversial literary genre. A lot of the literature we read aims to be beautiful or morally rewarding—but satire sets out to anger and provoke readers, and it’s rarely pretty (in any conventional sense of the term). At the same time, it’s one of the oldest and most popular forms of literary expression. So I’m interested (and slightly fearful?) to see how the class will respond to our readings.
A summary of course content:
The “snarling muse” of satire is an unwelcome guest at the literary feast. While most writers concern themselves with beauty and truth, the satirist works tirelessly to shock, mock, and offend. Satirical works have often been banned or burned; satirists themselves have been imprisoned, exiled, and (occasionally) executed. Who are these literary troublemakers, and why are their caustic writings so dangerous? This course will explore themes, forms, and theories of satire, past and present; it will examine how great writers have turned malice and moral indignation into witty and biting fiction, poetry, and drama. Authors may include Horace, Juvenal, Alexander Pope, Jonathan Swift, Jane Austen, Ken Saro-Wiwa, Helen DeWitt, and Paul Beatty. A warning—satirists love to play irreverently with topics of great seriousness (e.g. sex, race, religion, gender, slavery, politics, etc.), so prepare to be offended.
What students will be creating:
There will be at least one argumentative/research essay; but I’m also planning to have students do a more creative assignment (writing a satirical work of your own) as well as an investigation/brief presentation about a contemporary work of satire not included on the syllabus (i.e. anything that interests you).
Assuming that classes are taught in person, what you are looking forward to about being back in the classroom:
Human interaction? Also (weirdly), I miss writing on the chalkboard!
ENG 391 – Reading at the Table: Exploring Identity Through the Literature of Food with Prof. Buck-Perry
Why you are excited to teach the course:
Stories and good food are two of my favorite things, so it’s hard to imagine a more delicious combination to explore with students in a classroom. Transformation is at the heart of any good story or dish—the pleasure of tracing a character’s development is akin to the pleasure of combining ingredients and adding heat to watch those bits transform into something delectable. As you can tell, I enjoy pondering the relationship between the tangible and intangible in our lives. It’s fascinating to see how the ordinary food on our plates reveals so much about who we are and who we are becoming—tastes, hungers, appetites change over time, of course.
Additionally, ‘food writing’ is flourishing. When M.F.K. Fisher published The Gastronomical Me in 1943, she felt the need to explain (and apologize for) writing about food. In the past couple of decades, writing that features food has proliferated and is now celebrated. I’m thrilled to be introducing students to new authors and texts.
A summary of course content:
“Tell me what you eat, and I will tell you what you are,” declared the famed French gourmet Jean Anthelme Brillat-Savarin. This course will enthusiastically pursue Brillat-Savarin’s delicious approach to studying human nature. By examining the meals on our plates and those in literature, we’ll explore food as a means to learn more about the self and our ties to family, our society, our past, and to the natural world that sustains us. We’ll ponder the way food shapes and reveals our personal and cultural identities through an assortment of texts (novels, memoirs, poetry, cookbooks, essays, and films). Readings will include The Gastronomical Me by M.F.K. Fisher, The Edible Woman by Margaret Atwood, The Language of Baklava by Diana Abu-Jaber, and selections from Li Young-Lee, Michael Pollan, Ruth Reichl, Mark Kurlansky, and more. Class sessions will incorporate regular gatherings around the table to taste food and drink to sharpen our senses and our ability to capture and communicate experience.
What students will be creating:
In addition to a few analytical essay assignments, I’ll ask students to write a narrative/descriptive essay to explore their own ‘gastronomical’ selves. We’ll also compose numerous informal exploratory pieces—tasting notes, food reviews, culinary explorations—to practice capturing our sensory experiences with language.
Assuming that classes are taught in person, what you are looking forward to about being back in the classroom:
Fluid, in-depth discussions.
ENG 401 – Seminar in British Literature I: Difference with Prof. Hersh
Why you are excited to teach the course:
I love teaching this class as it includes many of my favorite medieval texts but from an important and, up until recently, overlooked lens of difference and alterity. Given where we are politically and socially at this point in American history I think it’s particularly important to explore the history of prejudice and I’m looking forward to seeing how our discussions look different given the events of this past summer and fall. I’m also psyched to add in a new unit on “disability theory” this semester.
A summary of course content:
This course explores representations of “otherness” in medieval literature. Many people incorrectly assume that medieval literature is populated only by blonde damsels in distress and white knights in shining armor, but the texts that we will read together will prove otherwise as we investigate poetry, prose, and plays that include provocative representations of gender, Islam, Judaism, race, disability, and queerness. We’ll tackle questions such as: what is the connection between the monster and “the other” in medieval literature? what did medieval women have to say about their own literary representations? what can we learn about posthumanism from studying a pre-humanist era? what is the history of being physically or mentally “othered”? what can these texts teach us about our own enduring struggles with issues of difference?
One of my favorite things about this class is that we get to apply rich modern lenses such as feminist theory, queer theory, race theory, and posthumanism to these pre-modern texts; this allows us to not only to see how 21st-century conceptions of otherness are radically different from those of the medieval period, but also illustrates how these conceptions have developed from such early models. Our readings will cover terrain such as werewolf stories, violent descriptions of the Crusades, incidents of cannibalism, and even one or two radical feminist damsels in distress. Texts may include The Song of Roland, selections from the Lais of Marie de France, The Siege of Jerusalem, The Croxton Play of the Sacrament, and selections from Chaucer’s Canterbury Tales.
What students will be creating:
Because this is a 400-level class, students’ main assignment will be a research paper on any given topic related to difference and the Middle Ages. We’ll break this up into smaller assignments and it’s great practice for the capstone. Students will also work on a semester-long project where they “embody” and journal about one of the literary theories we learn about and will make a group presentation about one of these theories.
Assuming that classes are taught in person, what you are looking forward to about being back in the classroom:
I’m looking forward to seeing everyone in person and not having to navigate reading body language through a screen. Not looking forward having to teach in “prison pants” (aka, non-sweatpants)! And I’ll miss seeing everyone’s pets wander into class.
Summer 2021:
ENG 391 – Shakespeare and Metaphysics with Prof. Hersh & Prof. Evangelist (Online)
This interdisciplinary course (ENG/PHL/THTR) explores the literary, metaphysical, and performance aspects of Shakespeare’s plays and is co-taught with Dr. Evangelist (PHL) and Dr. Hersh (ENG). This year, due to Covid, we will not be able to attend performances in Ashland. Instead, we will take a new approach by exploring three of Shakespeare’s early modern plays through the lens of Ian McEwan’s postmodern (and awesome!) novel Atonement. Together, we will explore the historical, artistic, philosophical, social, and literary implications of these texts via close reading, philosophical essays, and watching film versions. This class fulfills upper-division English, theater, or metaphysics requirements. If you’re an English major, it’s a great way to get your metaphysics requirement fulfilled! (cross-listed as PHL 339 and THTR 405).