Business Writing (ENGL 210)

Section: 20W #4744
Instructor:  J. Goldenstern
3.0 credit hours Lecture
MWF 2:45 - 3:35 p.m. WTC

This section will include basic forms of business writing including memos, business correspondence, resumes, cover letters, and various reports. The second half of the semester will be devoted to a group project. Classroom activities include grammar labs, writing labs, oral presentations, videos (with note-taking), and lectures with enhanced PowerPoint slides as well as various small-group activities. BlackBoard activities feature an ongoing Critical Thinking forum.  We will be using a textbook and materials authored by Scot Ober, known for his excellent real and simulated contemporary business case studies.

Section:  21W #4746 
Instructor:  R. Schwab
3.0 credit hours Lecture
TR 11:30 a.m. - 12:45 p.m. WTC

This course is designed to assist you in understanding how writing, editing, and orally presenting information function in professional settings and situations.  Students will gain more control over the style and form of their communication, as they adapt it to varying circumstances.  Some of the formats we will explore include:  business profiles, resumes, cover letters, interviews, emails, customer correspondence, instructions, proposals, and oral and Powerpoint presentations.  This is a writing intensive course.

Section:  60W #4748
Instructor:   Janangelo
3.0 credit hours Lecture
T 7:00 - 9:30 p.m. WTC 

Students will gain practice in reading and writing texts pertinent to business communication including:  memos, proposals, letters, and resumes.  There will be both individual and collaborative projects.  Students will also give a group class presentation.  This course is writing intensive.

Section: 61W #4750
Instructor:  J. Goldenstern
3.0 credit hours Lecture
W 7:00 - 9:30 p.m. WTC 

This section will include basic forms of business writing including memos, business correspondence, resumes, cover letters, and various reports. The second half of the semester will be devoted to a group project. Classroom activities include grammar labs, writing labs, oral presentations, videos (with note-taking), and lectures with enhanced PowerPoint slides as well as various small-group activities. BlackBoard activities feature an ongoing Critical Thinking forum.  We will be using a textbook and materials authored by Scot Ober, known for his excellent real and simulated contemporary business case studies.

Advanced Writing:  Legal (ENGL 211)
Section:  62W #4752

Instructor:  D. Gorski 
3.0 credit hours Lecture
T 7:00- 9:30 p.m. WTC 

Course description not yet available. 

Introduction to Poetry (ENGL 271)
Section: 056 #9212
Instructor: L. Janowski, OFM
3.0 credit hours Lecture
MWF 8:15 a.m. - 9:05 LSC

Since class members come from diverse experiences of poetry, positive and not, we will begin with a fresh overview of how poetry does its magic, the strategies, choices of form and subject that create the sounds and sense of poetry. Using these basic concepts we will trace the development of English (British) and American poetry with examples of its early forms, but with a distinct emphasis on modern and contemporary writers. Without neglecting the great “dead poets,” think instead of a “Living Poets Society.” Requirements include careful reading, active participation in class discussion, a little memorization, attending a live poetry reading, trying your hand at a poem or two of your own as well as written explications. We will look at the poem as both a made thing (an artifact of beauty, terror, challenge or comfort) and as a living thing (completed and brought to life with the reader’s own breath).

Section: 057 #9213
Instructor:  K. Caliendo
3.0 credit hours Lecture
MWF 2:45 - 3:35 p.m. LSC 

This course surveys the principles of poetry, the literary traditions of poetry, and the critical terminology to understand, to define, and to analyze poetry. Readings in this course follow a loose chronology from the Anglo-Saxon period to the late twentieth century.  This historical progression allows for an understanding of changes in poetic forms, devices and subjects.  However, the course also situates individual works within a larger tradition.  For example, Cædmon’s Hymn will be studied as representative of the Anglo-Saxon period and defined against the long tradition of hymns in English.  Classroom exercises, discussions, and research papers emphasize the importance of close literary analysis and strong writing practices.

Section:  058 #9214
Instructor:  T. Kaminiski
3.0 credit hours Lecture
TR 11:30 a.m. - 12:45 a.m. LSC 
 
The purpose of this course is to teach students how to read poetry, that is, to make them sensitive to the conventions and techniques employed by poets. Class discussions will be devoted to close analysis of a great variety of poems dating from the Renaissance to the present. The requirements include several one-page exercises, two short papers (3-5 pgs.), a midterm, and a final.

Section: 01W #2370
Instructor:  J. Cragwall
3.0 credit hours Lecture
MWF  9:20 - 10:10 a.m. LSC

 Why should we care about poetry – and how should we care about it?  And why do the answers to these two questions seem so similar?  We’ll start historically – who before us cared about poetry, and why?  We’ll study the pressure poems put on their historical moment, and how they’re shaped by it in surprising ways: for example, our discussion of Shakespeare will start with the formation of “Shakespeare” as a figure, often at odds with the “evidence” of the poems, of canonical standards throughout the nineteenth and twentieth centuries, a program that affected even the spelling of his poems.  Most of the authors in our anthology were white, male, and rich – how has literature been used to promote a series of questions and assumptions that they may have shared (sometimes called “the canon”), and how has it, even in these same authors, blown apart all the stereotypes and orthodoxies we’d expect to find?  We’ll watch the invention not only of English (and then British) culture, but of the English language itself, its twists and triumphs, detours and degenerations – and most importantly, we’ll watch as language, especially literary language, is fashioned into the greatest vehicle of social (as well as aesthetic) contest.

Section:  02W #2376
Instructor:  J. Jacobs
3.0 credit hours Lecture
MWF 2:45 - 3:35 p.m. LSC

In this class, our main interest will be the direct experience of poetry.  Theoretical formulations will be used because they help us get inside that experience.  So we will ask why given poems make us laugh, move us deeply, draw us in with unique force, make us rethink something in our own lives, and so on.  Since this is a discussion class, active participation of all students is crucial; I hope that the members of the class will talk to one another, not to me alone.  What we learn to do in discussion should animate the way students write critical papers about particular poems; there will be three such papers.  Our materials will come from the Norton Anthology of Poetry (unabridged edition, NOT the Shorter Edition), and from one or two books of poetry by contemporary poets.  We will read materials from various periods, but our emphasis will fall on modern lyric poetry. 

Section:  03W #9211
Instructor:  C. Kendrick
3.0 credit hours Lecture
TR 11:30 a.m. - 12:45 p.m. LSC

The course will be a survey of British and American poetry, especially from the Romantic movement on, especially of lyric kinds.  Class discussion will generally focus on the form and sense of individual poems, and will in general be about poetic ways of meaning, and individual poets' understandings of what poetry is and what it is to do.   The text for the course will be the Norton Anthology of Poetry, ed. Salter, Ferguson, et al. (2005); ISBN 0393979210.  As part of the “writing-intensive” aspect of the course, there will be at least one set of individual conferences on students’ writing.   Two papers, four or five short exams, a midterm, and a final.

Introduction to Drama (ENGL 272)
Section:  059 #2382
Instructor:  Wagner
3.0 credit hours Lecture
MWF 8:15 - 9:05 a.m. LSC

This course will be structured around an exploration of families in drama:  how the family unit imagines itself; how it can create “knowable” identities; how it maneuvers (successfully or not) within a society.  Our discussion will chart and contextualize the historically-evolving challenges that families and individual identities face in the work of playwrights such as Sophocles, Shakespeare, Middleton, Ibsen, Chekov, Brecht, O’Neill, Williams, and Churchill.  Students will gain an understanding of the historical and contemporary relevance of theatrical performance through a survey of readings that will begin with ancient Greek drama and lead us to contemporary theatre.  By the end of the course, students will demonstrate knowledge of important theatrical movements, theories, and playwrights.  Requirements for this class will include active participation, a short paper (2-3 pages), a longer paper (5 pages), several reading quizzes, and perhaps a midterm examination.

Section:  060 #5778
Instructor:  R. Schwab
3.0 credit hours Lecture

MWF 12:35 - 1:25 p.m. LSC

This critical survey course integrates a multi-cultural approach to world theatre with the study of dramatic literature and performance traditions.  Tracing the development of dramatic texts from the Greek fesitval dramas to contemporary offerings, the class will emphasize the importance of closely reading and scrutinizing theatrical literature, while situating it in its historical, cultural, social, and performative context.  Students will demonstrate their abilities to read, analyze, and interpret drama through a midterm and final exam, short expository essays on theatrical theories and praxis, a longer exploratory essay, and an in-class performance.

Introduction to Fiction (ENGL 273)
Section:  062 #9218
Faith on Fiction
Instructor:  M. Bosco, SJ
3.0 credit hours Lecture
TR 10:00 - 11:15 a.m. LSC

The art of fiction is deeply rooted in the human enterprise.  This course will look at a range of texts—both short stories and novels—in order to investigate the technique as well as the interpretation of works of fiction.   The texts chosen focus on writers and stories that try to get at questions of faith, belief, unbelief, mystery, desire, and “the divine.”  They come from diverse points of view and religious traditions (and some of no discernible tradition).  The course has 3 objectives:  first, to learn the art of reading (key literary terms, style, interpretational approaches); second, to explore the way fiction constructs a narrative language to understand the ambiguous terrain of religious experience; and third, to focus on the skills of critical analysis in student essays, discussions, and exams.   We will start with a collection of short stories, and conclude the course with four novels.

Section:  04W #2386
Instructor:  T. Boyle
3.0 credit hours Lecture
MWF 11:30 a.m. - 12:20 p.m. LSC

This course aims to examine different types of prose; short story, novella and the novel.  Authors from Ireland, England and America will feature in this exploration of literary fiction.   Before delving into the text, we will explore the life and social background of each author and see how these biographical, religious and political influences are made present in the text.
 
The main objective in this course of studies is to show how relevant literature is to our lives.  Students will acquire the critical and technical vocabulary that will enable them to describe, analyze, and formulate an argument about, artistic productions. Students will learn to use "terms of art" such as plot, narrative voice, point of view, structure, character, symbol, theme, and style, in order to analyze and interpret works of fiction.

Examine multiple interpretive possibilities of works of fiction.  The course will offer varying interpretations of a single work, and will give students practice in discussing and writing about their own and others' interpretations. 

Section:  05W #5780
Instructor:  Venturino
3.0 credit hours Lecture
MWF 12:35 - 1:25 p.m. LSC 

This course will train students in the close-reading of prose fiction’s major forms, the novel and the short story. Throughout the semester we will also develop effective techniques for writing about literature and discuss a variety of approaches to literary interpretation. Requirements include extensive reading, periodic written commentaries, two essays, and a final exam. Texts (required in the following specific editions) include Edith Wharton’s The House of Mirth (Norton Critical Edition), Joseph Conrad’s The Secret Agent (Oxford World’s Classics), and Beverly Lawn (ed.), 40 Short Stories: A Portable Anthology, 3rd edition.

Section:  06W #9215
Instructor:  Clarke
3.0 credit hours Lecture
MWF 1:40 - 2:30 p.m. LSC

Story-telling has always served as a means of exploring and interpreting human experience and in this course we will study some of the oldest forms of fiction (allegory, fable, and parable) before reading a selection of novels that exemplify the ways in which fiction both entertains and teaches.  Students will learn to use the technical vocabulary necessary for understanding fiction, and, because this is a writing-intensive course, we will also spend time discussing the essential characteristics of good writing.  Readings:  in addition to parables, etc., to be distributed as hand-outs, we will read Fielding’s Joseph Andrews, Shelley’s Frankenstein, Dickens’ Hard Times, Collins’ Moonstone, Hardy’s Far From the Madding Crowd, O’Connor’s The Violent Bear It Away, and Desai’s Clear Light of Day.

Section:  102 #9216
Instructor: C. Pasquesi
3.0 credit hours Lecture
TR 10:00 - 11:15 a.m. LSC

Blood, Sex, and Belonging.  The fiction that you will be introduced to in this course is not a simple data bank of plot, symbol, and character but instead a complex world that demands that we slow down and reread.  These challenging texts (not for the faint of heart) require responsive and conflicted critical thinking.  To this end, we are going to immerse ourselves fully in the literary forms that condition the ways we think about identities and communities.

Specifically, we explore the literary elements through which issues of race, gender, and sex (fictions of identity) find articulation in narratives about lineage, sacrifice, and (un)belonging (fictions of community) in the works of authors like Nathaniel Hawthorne, Bram Stoker, William Faulkner, Octavia Butler, Jamaica Kincaid, and Junot Diaz.

Introduction to Shakespeare (ENGL 274)
Section:  08W #2394
Instructor: T. Pillai
3.0 credit hours Lecture
MWF 10:25 - 11:15 a.m. LSC

What is it that makes Shakespeare—the man, the playwright, the idea, the image, the product—still fit in with our world, a figure of our persistent literary and cultural interest? What is it, moreover, that re/turns us repeatedly to his works? Addressing these and similar questions, this course will introduce you to a mélange of  Shakespearean texts and will focus on evaluating the various aspects that comprise the playwright-poet’s allure. Specifically, we will analyze Shakespeare’s works—eight plays in conjunction with a few sonnets—from literary, theatrical, socio-historical, and theoretical perspectives. We will read each text closely as an artistic construction, a script for popular consumption, and a commentary on the political atmosphere of a period both similar to and different from our own. The dramatic selections will introduce you to the contextual, generic, and thematic variations among Shakespeare’s comedies, histories, problem-plays, tragedies, and romances. Through our careful readings, we will evaluate comprehensively Shakespeare’s body of work as it remains to this day provocative and layered, refusing to be contained by the binary rhetoric or politics of good and bad, native and foreign, masculine and feminine, plebeian and elite.

Required Text: Norton Shakespeare, second edition; eds. Gary Taylor et al. Additional reading materials (scholarly articles on the plays) will be posted on Blackboard under “course documents.” The required text may be purchased at Beck’s Book Store (LSC) or at the university book store (LSC). You may also find cheaper copies of the text online, so check on Amazon.com and Abe.com, among other web sites.  

Please note:  English Majors should take ENGL 326, not ENGL 274. 

Section:  063 #3982
Instructor: T. Pillai
3.0 credit hours Lecture
R 2:30 - 3:45 p.m. LSC

What is it that makes Shakespeare—the man, the playwright, the idea, the image, the product—still fit in with our world, a figure of our persistent literary and cultural interest? What is it, moreover, that re/turns us repeatedly to his works? Addressing these and similar questions, this course will introduce you to a mélange of  Shakespearean texts and will focus on evaluating the various aspects that comprise the playwright-poet’s allure. Specifically, we will analyze Shakespeare’s works—eight plays in conjunction with a few sonnets—from literary, theatrical, socio-historical, and theoretical perspectives. We will read each text closely as an artistic construction, a script for popular consumption, and a commentary on the political atmosphere of a period both similar to and different from our own. The dramatic selections will introduce you to the contextual, generic, and thematic variations among Shakespeare’s comedies, histories, problem-plays, tragedies, and romances. Through our careful readings, we will evaluate comprehensively Shakespeare’s body of work as it remains to this day provocative and layered, refusing to be contained by the binary rhetoric or politics of good and bad, native and foreign, masculine and feminine, plebeian and elite.

Required Text: Norton Shakespeare, second edition; eds. Gary Taylor et al. Additional reading materials (scholarly articles on the plays) will be posted on Blackboard under “course documents.” The required text may be purchased at Beck’s Book Store (LSC) or at the university book store (LSC). You may also find cheaper copies of the text online, so check on Amazon.com and Abe.com, among other web sites.

Please note:  English Majors should take ENGL 326, not ENGL 274. 

American Literature from the Colonial Period through the Civil War (ENGL 277)
Section:  09W #5348
Instructor:  J. Glover
3.0 credit hours Lecture
MWF 1:40 - 2:30 p.m. LSC

This course is a survey of American literature from the colonial period through the Civil War.  It begins with early narratives of discovery and settlement, and stretches to the fiction and poetry of the early national period.  We will consider a wide range of American writings, from the journals of Pilgrim settlers to the autobiographies of freed slaves.  Our texts will also represent numerous genres, including diaries, lyric poetry, novels, political tracts, and films. The chief objective of this course is to provide students with an understanding of the history and major writers of this period and to learn the critical terminology necessary to read and discuss the varied literature of these periods.  While we will focus on printed and written materials, we will also consider other forms of media including sermons, songs, performances, and popular ballads. As we will see, the American literary tradition does not simply exist in the past but continues to shape the present we share.  Throughout the course we will engage with recent films, public controversies, and legal decisions that reflect the continuing relevance of colonial literary history.

Chief American Writers II, 1865 to the Present (ENGL 278)
Section:  064 #9221 
Instructor:  B. Fruhauff
3.0 credit hours Lecture
TR 8:30 - 9:45 a.m. LSC

This course will oscillate between intensive author studies and broader surveys of the period and its major themes as we develop responses to three issues: (1) what constitutes “American” literature and “Americans” during this period; (2) what are the “chief” concerns of American writers in this period; and (3) on what basis can we establish who ought to belong among the “chief” American writers of this period? Grades will be based on short reflections, a 25min. in-depth presentation on one of our authors, and a term paper.

Section:  10W #2402
Instructor:  A. Mattis
3.0 credit hours Lecture
TR 2:30 - 3:45 p.m. LSC

^{This survey course examines American literature produced in the period after the Civil War until now.  In addition to sharpening their skills as “close readers” of literature and literary movements, students will learn to situate their textual readings in specific historical and cultural contexts.  As critical readers, students will explore what makes literary texts distinctly “American,” and how American writers who are marked by gender, race, ethnic, class, and/or sexual difference challenge traditional notions of an American literary canon. Assignments will include 10 quizzes, 2 exams, 2 papers, and a close reading presentation.} 

Medieval Culture (ENGL 279)
Section:  11W #3988
Instructor:  J. Ash
3.0 credit hours Lecture
MWF 12:35 – 1:25 p.m. LSC

Medieval masculinities: visions and variations on a theme

In this class we will be reading selected narratives and then watching film versions of these same narratives that dramatize ideals of men and masculinities during the medieval period.  The ideal of the warrior-hero (Beowulf, for example) transforms into versions of the chivalric ideal, the knightly hero who can be found in the context of Arthurian romance (Lancelot, Tristan and Gawain, for example).  We will investigate the way in which these written narratives transform into contemporary visualizations of medieval ideals, whether Bresson’s Lancelot du Lac or Hollywood’s First Knight; we can trace the way in which these ideals, these masculinities, have been historically and culturally constructed and yet have been translated into contemporary cultural currency.  This class is writing intensive; there will be regular short response papers to movies and readings, as well as several short papers and a longer final paper or project.

 
Section:  603 #9222
Instructor:  J. Ash
3.0 credit hours Lecture
T 7:00 – 9:30 p.m. LSC

In this class we will be reading selected narratives and then watching film versions of these same narratives that dramatize ideals of men and masculinities during the medieval period.  The ideal of the warrior-hero (Beowulf, for example) transforms into versions of the chivalric ideal, the knightly hero who can be found in the context of Arthurian romance (Lancelot, Tristan and Gawain, for example).  We will investigate the way in which these written narratives transform into contemporary visualizations of medieval ideals, whether Bresson’s Lancelot du Lac or Hollywood’s First Knight; we can trace the way in which these ideals, these masculinities, have been historically and culturally constructed and yet have been translated into contemporary cultural currency.

Introduction to African American Literature (ENGL 282)

Section:  065 #2408
Instructor:  G. Nelson Bauer
3.0 credit hours Lecture
MWF 9:20 - 10:10 a.m. LSC

This course will examine the African American literary tradition from slave narratives to the present day, with particular emphasis on the nineteenth century through the 1920’s.  We will focus our readings through larger aesthetic and political debates that have informed African American art, and discuss these works in light of shifting historical perceptions of black subjectivity and identity.  Some questions this class will consider are: What (if anything) is distinctive about African American literature? How have African American authors and thinkers navigated issues of class and gender?  What recurring themes and tropes have African American writers addressed and/or resisted?  Coursework will include in-class quizzes and writing assignments, class participation, discussion leads, a mid-term and final exam, and 2-3 literary analysis papers. This course fulfills the multicultural requirement.

Section:  066 #9223
Instructor:  W. Malcuit
3.0 credit hours Lecture
MWF 2:45 - 3:35 p.m. LSC

This course will introduce students to African-American literature through the study of a wide variety of texts: poems, novels, short stories, personal narratives, and other non-fiction prose forms.  We will read texts dating from the 18th to the 21st Centuries, with a particular emphasis upon texts produced during the 1920s (the Harlem Renaissance) and the 1960s (the Black Arts Movement).  Issues we will engage throughout the course are the ways “race” is variously constructed in different historical moments, ways in which class, gender, and sexuality intersect with those constructions, and the ways African-American authors have embraced, rejected, or otherwise responded to the descriptive categories of “African,” “American,” or any combination thereof.  Required work will include active classroom participation, reading quizzes, two papers, a midterm, and a final.  This course fulfills the multicultural requirement for the English major.

Section:  12W #9224
Instructor:  B. Ahad
3.0 credit hours Lecture
TR 2:30 - 3:45 p.m. LSC

This course serves as an introduction to the African American literary tradition. In addition to reading and interpreting works by major black writers from the era of slavery to the contemporary present, we will also discuss the major shifts and movements that have constituted the black literary tradition.  Some questions we will consider are: What is African American literature? What are some major themes and concerns that have defined African-American literature? And, where does the future of African-American literature seem to point? Course requirements include regular quizzes, a mid-term exam, two short papers, and a final essay. This class fulfills the multicultural requirement.

Women in Literature (ENGL 283)

Section:  13W #9236
Instructor:  J. Ash
3.0 credit hours Lecture
MWF 9:20 - 10:10 a.m. LSC

Storytelling and selfhood

In this class we will encounter and explore a selection of those ancient stories known as myth and various contemporary retellings, both written (novel, short story, poetry) and visual (film, painting).  Freud exploited these ancient narratives in his creative labors to formulate the theories and practice of psychoanalysis, privileging the stories of such tragic heroes as Oedipus, and Narcissus.  We will read and engage those stories that provide the occasion to explore matters specific to the formative experiences of femininity; for example, stories of Medea, Medusa, Cassandra, Penelope, Phaedra and Penthesilia.  We will read selected texts of Homer, Hesiod, Ovid as well as the work of more recent writers such as John Barth, Margaret Atwood, Christa Wolf, Elisabeth Cook, Marina Minghelli, H.D. and, of course, Sigmund Freud. This class is writing intensive; there will be regular short response papers to movies and readings, as well as several short papers and a longer final paper or project.

Section:  14W #9237
Instructor:  S. Weller
3.0 credit hours Lecture
MWF 1:40 - 2:30 p.m. LSC Section: 14W #9237

When we want to know about how women perceive the world around them, their stories, language, politics,passions, and their lives, a foundational place to start is literature.  And while poetry and fiction are vivid and effective representations of women's lives, memoir is where women writers face the slippery truth of their own lived experience, and attempt to find meaning therein.  It is where they grapple with the memories of events and relationships that molded them into the writers and women they are, and where they wrestle with poetic reflection on the effect of these struggles.  In this course we will read a selection of creative non-fiction memoirs by a wide range of contemporary female writers including Maxine Hong Kingston, Mary Karr, Kathryn Harrison, Marjane Satrapi, Jill Christman, Meredith Hall, and Ann Fessler.  Crosslisted with Women’s Studies, English 283 is designed to meet the “literary knowledge and experience” requirements of the Loyola Core.  Focusing on literature written by 20th century women authors, this course is designed to help students gain knowledge of women’s lives and writings; to show them the difference gender makes to the writing, reading, and interpretation of literature; to train them in the analysis of literature; and to teach them how to describe, analyze, and formulate arguments about literary texts.

Section:  067 #3990
Instructor:  J. Ash
3.0 credit hours Lecture
MWF 11:30 a.m. - 12:20 p.m. LSC

Storytelling and selfhood

In this class we will encounter and explore a selection of those ancient stories known as myth and various contemporary retellings, both written (novel, short story, poetry) and visual (film, painting).  Freud exploited these ancient narratives in his creative labors to formulate the theories and practice of psychoanalysis, privileging the stories of such tragic heroes as Oedipus, and Narcissus.  We will read and engage those stories that provide the occasion to explore matters specific to the formative experiences of femininity; for example, stories of Medea, Medusa, Cassandra, Penelope, Phaedra and Penthesilia.  We will read selected texts of Homer, Hesiod, Ovid as well as the work of more recent writers such as John Barth, Margaret Atwood, Christa Wolf, Elisabeth Cook, Marina Minghelli, H.D. and, of course, Sigmund Freud.

Section:  068 #9230
Instructor:  V. Bell
3.0 credit hours Lecture
TR 10:00-11:15 a.m. LSC

In this section, we will examine the coming-of-age novel–or bildungsroman–as it relates to representations of women and writing by women. We will read fictional narratives in the genre, but also formal innovations in poetry, theater, film, and performance art. The coming-of-age story raises questions about transforming fictional characters from girls into women, but also about a character’s awareness of race, class, sexuality, and personal responsibility. Using critical theory, we will examine the narrator or speaker’s first person "I" and we will explore the movement from object to subject, from practice to praxis, and from agency to activism. Course texts might include Merle Hodge’s Crick Crack, Monkey, Jeanette Winterson’s Oranges are Not the Only Fruit, Elizabeth Alexander’s The Venus Hottentot, Eve Ensler’s The Vagina Monologues, Alicia Partnoy’s The Little School, and Muriel Rukeyser’s The Book of the Dead.

Note: This section of this course fulfills the English Department's multicultural requirement.

Section:  200 #9919
Instructor:  C. Wallace
3.0 credit hours Lecture
TR 1:00 - 2:15 p.m. WTC
 
What is the relationship between suffering and goodness or beauty in literature by and about women? Another way of posing this question might be: how do ethics and aesthetics relate for women “in” literature? And what does it mean to speak of “women in literature”? We will explore such questions in this class by reading in a variety of genres and historical periods, with attention to cultural contexts as well as feminist, ethical, and aesthetic theories. Authors may include Julian of Norwich, Christina Rossetti, Anne Sexton, Annie Dillard, Toni Morrison, Cherrie Moraga, Ana Castillo, and Chimamanda Ngozi Adichie.

Section:  15W #9240
Instructor:  B. Bouson
3.0 credit hours Lecture
TR 1:00 - 2:15 p.m. LSC

“If women have learned many of the ways they interpret their lives from the narrative schemata of novels and stories,” writes Joanne Fry, “they can also gain from fiction new insights into the narrative processes of constructing meaning.”  Crosslisted with Women’s Studies, English 283 is designed to meet the “literary knowledge and experience” requirements of the Loyola Core.  Focusing on literature written by 20th century women authors, this course is designed to help students gain knowledge of women’s lives and writings; to show them the difference gender makes to the writing, reading, and interpretation of literature; to train them in the analysis of literature; and to teach them how to describe, analyze, and formulate arguments about literary texts. The authors covered will include Doris Lessing, Margaret Atwood, Jamaica Kincaid, and Toni Morrison.  There will be oral presentations, papers, a midterm and a final exam.

Introduction to Film History (ENGL 284)
Section:  16W #2518 
Instructor:  A. Kessel
3.0 credit hours Lecture
TR 10:00 - 11:15 a.m. LSC

This course will examine the history of global cinema in its first 100 years. Film is a visual and narrative art, but it is also an industry, a technology, and a means of political and cultural expression. Our class will consider all these facets of cinema. We will view, discuss, and write about movies, movements, and film makers from many nations, including France, Italy, Spain, Germany, Japan, India, Sweden, Great Britain, and the Unite

Section: 082 #3994 
Instructor: G. Phillips, SJ 
3.0 credit hours Lecture
M 1:40 pm - 2:30 pm 
F 1:40 pm - 3:30 pm LSC

Students will learn the art and craft of writing fiction in a supportive workshop environment through (a) reading master writers; (b) writing two original stories and one revision; and (c) having these stories discussed and critiqued by the instructor and by fellow writers.  Class participation is emphasized.

Section:  083 #2638
Instructor:  L. Krughoff
3.0 credit hours Lecture
W 2:45 - 5:15 p.m. LSC

In this course, students will be introduced to a number of fundamental techniques of fiction writing.  We will read, discuss, and analyze the work of master short story writers, and students will submit original fiction manuscripts throughout the semester.  Students will learn the skills of careful, critical reading and listening; reflective, observational writing; dynamic, generative writing; and various strategies for revising fiction and editing prose.  All skill levels are welcome in this class, and every student will be challenged to identify personal strengths and weaknesses as a fiction writer, hone technical skills, and develop the critical eye necessary to be a good reader of his or her own work as well as the work of fellow students.

Writing Creative Nonfiction (ENGL 319)
Section:  084 #9283
Instructor:  P. Peterson
3.0 credit hours Lecture
F 2:45 - 5:15 p.m.

 
This course will introduce you to the art of writing creative nonfiction, a wonderfully flexible and diverse genre that includes literary journalism, memoir, and the personal essay.  You will have a chance to explore, to question, to research, to meditate, to reflect and to recollect in your forays into this genre. By reading the essays of master practitioners in our text, we will study the intricacies of craft, particularly the importance of narrative voice and the myriad ways creative non-fiction can be structured. You will have a chance to experiment with writing in different forms and styles and perhaps, by the end of the class, you will find one that you want to pursue further.

English 323: Studies in Medieval Lit: Vision & Apocalypse (ENGL 323)
Section:  085 #3998
Instruction:  A. Frantzen
3.0 credit hours Lecture
TR 2:30 - 3:45 p.m. LSC

When medieval people wanted to travel in time, they had visions--visions of Hell, visions of Heaven, visions in which devils pitched wicked souls into flames, visions in which Christ's wounds poured out blood that cleansed sinners as did the waters of Baptism. In the Middle Ages, which stretched from about 500 to 1500, visions were often associated with the approach of death and frequently with the Apocalypse. We will learn how visions of worlds to come both mirrored and modeled life in the Middle Ages. Texts will range from Anglo-Saxon poetry and prose about the millennium (read in translation) to the drama of the fifteenth century. Major fourteenth-century works will include Sir Gawain and the Green Knight and William Langland's great allegorical work, Piers Plowman. Texts will be available at Beck's Bookstore only. No prior knowledge of Middle English is assumed. Requirements will include two papers, two exams, periodic reading quizzes, and contributions to class. Syllabus viewable after Dec. 15 at allenfrantzen.com (email for password only after that date).

The Plays of Shakespeare (ENGL 326)
Section:  086 #2652 
Instructor: M. Shapiro
3.0 credit hours Lecture
MWF 10:25-11:15 a.m. LSC

The course will cover a representative sampling of 7-8 plays, chosen to illustrate early, middle, and late phases of Shakespeare’s work in comedy, history and tragedy.  We will look at such matters as language, poetry, historical contexts, and sources, but there will be a consistent emphasis on the plays as texts for theatrical performance.  That is to say, we will discuss stage history and adaptations, look at video clips of recorded productions, and perhaps arrange for optional attendance at local productions of such plays as Taming of the Shrew on Navy Pier late in the term.  Students will be required act in one in-class workshop production of a short scene.  The primary text is The Necessary Shakespeare (Pearson/Longman).  There will be three papers, a midterm, and a final.

Section:  087 #2656
Instructor:  V. Foster
3.0 credit hours Lecture
TR 2:30 - 3:45 p.m. LSC

In this class we will read, discuss, write about, and view scenes from nine of Shakespeare’s plays, representing comedy, history play, tragedy, and tragicomedy.  The plays will likely be: The Taming of the Shrew, Much Ado about Nothing, 1 Henry IV, Henry V, Hamlet, Measure for Measure, Othello, King Lear, and The Tempest.  We will consider Shakespeare’s theatre, the relationship between text and performance, the varying reception of Shakespeare’s plays over time, dramatic genre, and topics such as family relationships and issues of race, class, and gender.  We will attend a performance of The Taming of the Shrew at Chicago Shakespeare Theatre.   Requirements:  three essays (including a research paper), brief in-class tests, final exam, class participation. 
 

Studies in the Renaissance (ENGL 328)
Section:  088 #5794
Instructor:  J. Biester
3.0 credit hours Lecture
MWF 12:35-1:25 p.m. LSC

This course will focus on the earlier seventeenth century (1600-1660), and examine texts in various genres (poetry, prose, and drama), with an emphasis on material not covered in English 297 or English 325.  Among the topics we will consider are: the functions of literature in the culture of late Renaissance England; the relationship between the authors' aspirations as poets and as participants in political events; the relationship between the authors' gender and their literary products; and the literary, intellectual, and political contexts in which their work was produced.  Requirements will include two papers, a midterm, and a final
 

Milton (ENGL 329)
Section:  090 #9284
Instructor:  C. Kendrick
3.0 credit hours Lecture
TR 10:00 - 11:15 a.m. LSC

The course will cover Milton’s early poetry and two of his prose works, Areopagitica and The Doctrine and Discipline of Divorce, as well as the major poems published late in his life, Paradise Lost, Paradise Regained, and Samson Agonistes.   We will pay special attention to matters of genre and style, and discuss, among other issues, matters to do with sexuality, politics, and religion, as they figure in Milton’s works.  The Milton textbook ordered for the course is John Milton, The Major Works, ed. Stephen Orgel and Jonathan Goldberg (Oxford, 1991; re-issue 2008). ISBN: 0393979210
English 343 – 092 (4002):   Studies in the Victorian Period:  the Novel -- Clarke
The Victorian novel is both work of art and social document.  By presenting their ideas in this "delightful and easy" form, novelists reach an enormous audience and strongly influence the cultures they live in.  In addition to reading the novels listed below, we will examine the biographical and historical contexts that inform the novels, and will devote some time to the theory of the novel.  Readings:  Charles Dickens' Hard Times, Elizabeth Gaskell's Mary Barton, Wilkie Collins' Moonstone, George Eliot's Mill on the Floss , William Thackeray’s Vanity Fair, and Thomas Hardy's Far From the Madding Crowd.  Assignments will consist of mid-term and final examinations, and a critical paper. 

British Literature: The Romantic Period (ENGL 335)
Section 091 #2660
Instructor: S. Jones
3.0 credit hours Lecture
TR 11: 30 a.m. – 12:45 p.m. LSC

This course examines the literature of the British Romantic period (roughly 1789-1832), a time of rapid, sometimes violent, political and cultural change (and resistance to that change): revolution, empire, war, restoration, the radical reform movement, the campaign to abolish slavery, the beginnings of modern feminism. Many of the works that would later come to be seen as part of the "Romantic movement" were characterized by representations of extreme experience and cultural instability--gothic terror, erotic self-expression, intense sensibility; celebrations of the natural, the simple, and the primitive; the desire to transcend the boundaries of the senses, of culture, and of history. Not everything written during the period was "Romantic" in this sense, and one purpose of the course is to explore the boundaries of the critically constructed "movement."  Requirements: (1) in-class oral presentation: 15%; (2) general participation: 10%; (3) 2 shorter critical essays: 60%; (4) final exam: 15%. Books: The Longman Anthology of British Literature, vol. 2A (4th edn.), and Frankenstein (Broadview).

Studies in the Victorian Period:  The Novel (ENGL 343)
Section:  092 #4002

Instructor:  M. Clarke
3.0 credit hours Lecture
MWF 10:25 - 11:15 p.m. LSC

The Victorian novel is both work of art and social document.  By presenting their ideas in this "delightful and easy" form, novelists reach an enormous audience and strongly influence the cultures they live in.  In addition to reading the novels listed below, we will examine the biographical and historical contexts that inform the novels, and will devote some time to the theory of the novel.  Readings:  Charles Dickens' Hard Times, Elizabeth Gaskell's Mary Barton, Wilkie Collins' Moonstone, George Eliot's Mill on the Floss, William Thackeray’s Vanity Fair, and Thomas Hardy's Far From the Madding Crowd.  Assignments will consist of mid-term and final examinations, and a critical paper.

Contemporary Critical Theory (ENGL 354)
Section: 093 #2662
Instructor: S. Venturino
3.0 credit hours Lecture
MWF 10:25 - 11:15 a.m. LSC

In this course we will consider how several important strains of contemporary literary theory have developed, what they do in the world, and what we can do with them. Readings include critical works that have informed and established formalist, feminist, psychoanalytic, and Marxist approaches to literary analysis, as well as those associated with gender studies, cultural studies, postcolonialism, and deconstruction. Texts include Literary Theory: An Anthology, 2nd edition, edited by Julie Rivkin and Michael Ryan (Wiley-Blackwell ) and Mary Shelley’s Frankenstein (Norton Critical Edition only). Assignments include three short papers, a midterm exam, and a final exam.

Contemporary Critical Theory (ENGL 354)
Section:  094 #9285
Instructor: P. Jay
3.0 credit hours Lecture
TR 1:00 - 2:15 p.m. LSC

This course introduces students to a range of contemporary theories about literature, literary criticism, and cultural studies. It is designed to explore the substantive and stylistic elements of theoretical writing in the humanities and to consider different ways in which such writing informs the practice of literary and cultural analysis. We will explore recent innovations in how we think about texts, authorship, narration, writing, and reading, review a variety of approaches to critical analysis and interpretation, and consider the social, cultural, and political dimensions of critical theory and literary analysis. Materials for this course will include a short introductory book on literary theory, a textbook on contemporary critical theory, some fiction and poetry, and at least one film. Requirements include 3 critical essays, a mid-term, and final.

Literature for a Writer’s Perspective (ENGL 357)
Section:  095 #2664
Instructor:  J. Wilson
3.0 credit hours Lecture
M 2:45-5:15 p.m. LSC

This course examines literature from various periods in poetry and/or prose for technical innovation and genre development, with particular emphasis on applications to the creative process.

Outcome:  Students will gain a deeper understanding of the technical innovations and/or genre developments being studied, and will be able to apply these to their own creative works of fiction, poetry, and/or creative nonfiction.

For spring 2010, this course will focus on the lyrics, translations, libretti, stories, essays, long poems, talks, screenplays, biographical works, and cross-genre works by one Anne Carson.  Books include: Eros the Bittersweet; If Not, Winter: Fragments of Sappho; Glass, Irony and God; Plainwater; The Beauty of the Husband; Autobiography of Red; and Decreation.

Polite Satanism, Enthusiastic Devilry (ENGL 362)
Section:  096 #9286
Instructor:  J. Cragwall
3.0 credit hours Lecture
MWF 11:30 a.m. - 12:20 p.m. LSC 

This course is a literary history of the demonic in seventeenth-, eighteenth-, and nineteenth-century Britain.  Few figures have been more important to the intellectual traditions of the English-speaking world than John Milton’s Satan, who towered over respectable poetry, and was reinvented by later radical thinkers as a model for righteous rebellion, rational anarchy, and even a transcendent moral authority that confounded God and the Christian religion.  Meanwhile, the Devil dominated popular culture, as tens of thousands of men and women fell into screaming fits at Methodist revivals, while Joanna Southcott met him at tea-time, as he exclaimed, “Thou infamous Bitch!”  Southcott’s language was earthy, but as Lord Byron remarked, as his own very different Cain was successfully prosecuted for blasphemy, how else was “the first rebel and the first murderer” to talk?  We'll read a lot of poetry, including Milton, Marlowe, Pope, Keats, Byron, Wordsworth and Hemans, but we'll also read some prose, such as Bunyan's Grace Abounding and Mary Shelley's Frankenstein, along with some of Southcott's A Dispute Between the Woman and the Powers of Darkness.

Studies in Fiction (ENGL 372)
Section:  097 #9287
Instructor:   J. Bouson
The Shame Experience in Literature
3.0 credit hours Lecture
TR 10:00 - 11:15 a.m. LSC 

We will focus on the depiction of shame in selected works by twentieth-century authors.  Often referred to by affect theorists as the “master emotion,” shame is “a multidimensional, multilayered experience,” observes Gershen Kaufman.  “While first of all an individual phenomenon experienced in some form and to some degree by every person, shame is equally a family phenomenon and a cultural phenomenon.  It is reproduced within families, and each culture has its own distinct sources as well as targets of shame.”  This course will provide students with a brief introduction to and overview of shame theory, including psychological accounts of shame and its related feeling states (such as embarrassment, humiliation, and lowered self-esteem) and the classic defenses against shame (such as contempt or arrogance or shamelessness).  The twentieth-century authors we will read include Kafka, Bellow, Russo, Allison, Atwood, Morrison, and Mairs. There will be oral presentations, papers, a midterm and a final exam.
This course meets English major requirement for one course in literature since 1900.

American Literature 1865 – 1914 (ENGL 376)
Section:  098 #9288
Instructor:  J. Glover
3.0 credit hours lecture
MWF 11:30 a.m. - 12:20 p.m. LSC  

“Of the terrible doubt of appearances,” the poet Walt Whitman wrote in 1867, “of the uncertainty after all—that we may be deluded.” Published just after the end of the Civil War, Whitman’s lines reflected a broader anxiety in American culture about whether literature could faithfully portray an increasingly complex world.  This course will consider American literature from 1865 to 1914 with a special emphasis on the concept of literary realism.  Ranging across numerous genres from novels and short stories to songs, manifestos and legal decisions, we will explore how American writers understood and represented “reality” during a time of upheaval at home and abroad.  The class will touch on formal concerns, including literary techniques for depicting interiority and social environments, and will also examine literature in the context of changing ideas of labor, race, gender, and democracy.  Several questions will motivate us.  Is it possible to portray reality objectively in fiction?  Why did nineteenth-century American writers value realism over other literary possibilities? How did realistic styles of writing travel across racial and cultural boundaries?  And what makes realism so compelling to reading audiences, both today and in the past?  Authors will include Mary Austin, William Dean Howells, Henry James, James Weldon Johnson, María Amparo Ruiz de Burton, Mark Twain, Edith Wharton, and of course Walt Whitman.

Advanced Studies in African-American Literature (ENGL 384)
Section:  099 #4766 
Instructor:  B. Ahad
3.0 credit hours Lecture
TR 1:00 - 2:15 p.m. LSC

In his keynote address at the 1996 PEN Literary Awards, Richard Howard offered "a modest proposal that may yet restore an art that was once the glory and the consolation of our race to something like its ulterior status. My proposal is simply this: to make poetry, once again, a secret."  Such propositions disregard the communal origins of the spoken word in the African and African-American literary tradition, and the way that African-American poetics has always been part and parcel of black public discourse and communal formation. Beginning with the Black Arts Movement (a period that considered the poet a “missionary”), this class will consider the ways that contemporary--mainly late 20th- and 21st century-- African-American poetry and poetic performance both appropriates and critiques the governing impulses of the Black Arts era to formulate new ideas about race, cultural identity, history, class, and community.  The course will examine the role that form, rhythm, and performance play in the “troubling” of black subjectivities, the manipulation of language to explore/explode the concept of race, and the re-constituting and re-imagining of black community.  Some questions we will consider are: How does contemporary/”post-soul” poetry imagine racial and cultural identity in the 21st century? How does poetic performance (including hip-hop) disrupt the conventional “narrative” relation between author/speaker, language, and audience? In what ways do post-soul poets work to redress the erosion of black community through the evocation of history and memory? We will read poetry by Kevin Young, Elizabeth Alexander, Adrian Matejka, Toi Derricotte, Evie Shockley, among others, as well as view performances featured on Def Poetry Jam, Slamnation, and Fade to Black. Course requirements include weekly writing assignments, quizzes, a mid-term exam, final essay, and a critical analysis of a live poetry performance. This class fulfills the multicultural requirement.

Advanced Seminar:  ENGL 390
Section:  19W #2810 
Shakespeare and his “opposites”
Instructor:  S. Gossett
3.0 credit hours Lecture
TR 10:00 - 11:15 a.m. LSC

A recent book about the Admiral’s/Prince’s Men, chief rivals of the Chamberlain’s/King’s Men, is entitled Shakespeare’s Opposites; by reading a variety of plays largely from the Jacobean period, our seminar will consider to what extent  this opposition can be used to describe the relation between the plays of Shakespeare and those of his contemporaries. The first section of the course will focus on Hamlet and the plays that preceded, followed, and parodied it. Readings will include The Spanish Tragedy, The Revenger’s Tragedy, Eastward Ho!, and Philaster, the first text of Hamlet known as the “bad quarto,” as well as Tom Stoppard’s modern Rosencranz and Guildenstern are Dead. Later pairings may include Romeo and Juliet and ‘Tis Pity She’s a Whore; All’s Well that Ends Well and Mariam; The Jew of Malta and The Merchant of Venice; Twelfth Night and The Duchess of Malfi. Readings after the Hamlet will be determined after the first class meeting, where students will discuss their previous experience with Shakespeare and their preferences for further reading. Students will do a semester-long project introducing them to bibliography and to various theoretical approaches to early modern drama; the project will culminate in a research paper suitable for submission as a writing sample.

Section:  20W #2812
Magic Realism
Instructor:  J. Wexler
3.0 credit hours Lecture
TR 1:00 - 2:15 p.m. LSC

The oxymoron in “Magic Realism” reflects the genre’s unique combination of realistic and symbolic forms. It raises boundary issues of many kinds, including those between history and myth, empirical and non-empirical experience, objective and subjective knowledge. This course examines magic realism from its origin in Weimar Germany to contemporary postmodern and postcolonial fiction in many countries. Texts include an anthology of critical essays on magic realism and five novels. Requirements include class presentations, quizzes, and essays.  This course fulfills the multicultural requirement for the English major.

Section:  21W #2814
Place and Identity in the American West
Instructor: S. Bost
3.0 credit hours Lecture
TR 2:30-3:45 p.m. LSC 

This seminar will focus on the assumptions about place and identity that are embedded in myths of the American West.  We will study literary works that have contributed to the production of this myth as well as works that deconstruct it.  Our primary readings by James Fenimore Cooper, John Rollin Ridge, Willa Cather, John Steinbeck, Leslie Marmon Silko, Sandra Cisneros, Karen Tei Yamashita, and Luis Alberto Urrea will be supplemented by visual images and critical essays that will guide our analysis of the significance of place (frontier, nation, border, region, and environment) and identity (race, gender, sexuality, and (dis)ability).  Assignments will include weekly exercises, papers, presentations, and a research project. NOTE:  The section listed is Writing Intensive. 

Teaching English to Adults (ENGL 393)

[Prerequisite for ENGL 393 is permission, and variable credit agreement form]

Section: 01S

ENGL 393 01S is a service learning class.

Instructor: J. Heckman
1.0 - 3.0 credit hours Internship
MW 7:00 pm - 9:30 pm
TBA

and

Section:02S

ENGL 393 02S is a service learning class.

Instructor: J. Heckman
1.0 - 3.0 credit hours Internship
TR 7:00 pm - 9:30 pm
TBA

ENGLISH 393: Teaching English to Adults Meets at the Loyola Community Literacy Center, 6576 North Sheridan Road  

The literacy internship, open to all students of sophomore standing or above, is an opportunity to earn course credit (one to three hours) by joining the Loyola Community Literacy Center (LCLC) and teaching adults to learn to read and write in English. Our adult learners are both native-born and foreign-born; the latter predominate. They range in age from 18 to 70. Interns work in the LCLC individually with adult learners, one-on-one, and are assisted and supervised with all phases of tutoring. All interns new to the Center are required to attend an orientation session, to tutor one or two nights each week (one night for one credit hour, two nights for two or three credit hours), and (no matter how often you tutor) to meet with the instructor (6 p. m. on selected days) to discuss their tutoring experiences and integrate them with readings about adult literacy and second language acquisition. Interns write journal entries and papers combining research into literacy with reflections on their experience. The Literacy Center is open for tutoring Mon. to Thurs., 7:00-9:30 p.m. The orientation program is offered on three separate evenings; tutors new to the Center must attend one session.  Details are available on our website at luc.edu/literacy. The first meeting of the internship is the orientation session. The orientation will take place at the Literacy Center. Please consult the schedule for dates, times and other information at the Literacy Center homepage: