Reasoning &
Writing in the College:
CAS
105
Fall 2001
Writing
About English Language and Literature
Shakespearean
Adaptation: The Culture Politics of (Re)writing the Bard
Instructor: Jennifer Ailles, Department of English
MW 3:25 - 4:40 CRN 12212
The Shakespeare ‘industry'
-- as it impacts on educational systems, the critical discourses, and the
theatrical culture of a society -- often operates in ways that sustain ideas,
values, and even epistemologies.
H. Gilbert
and J. Thompkins
The works of William Shakespeare
have been re-written and re-presented extensively over the last 400 years
by people throughout the world. What is it about Shakespeare's works that
inspires so many writers, playwrights, and other artists to use his creations
to make their own? In this course, we will address, through class discussion
and written assignments, some of the issues, particularly those surrounding
race, gender ethnicity, and class, that are raised through examining adaptations
of Shakespeare. What do changes to Shakespeare's works tell us about the make-up
of Shakespeare's social and political world and about the contexts of those
who adapt his works to the contemporary world?
The process of re-writing
Shakespeare's works are directly related to the processes of writing and revision
that occurs in academia, and particularly in literary studies. Thus the same
questions can be applied to both adaptations and to our own work in the classroom.
Namely, why do we write or re-write Shakespeare? What should be emphasized
or excised to make the most effective arguments or narratives? Who are our
audiences? And perhaps most importantly, what rhetorical structures and assumptions
underlie our critical and creative thoughts? Focusing on a few core plays,
namely Hamlet, Romeo and Juliet, The Taming of the Shrew, and The Tempest,
along with some of their associated adaptations (particularly contemporary
ones such as the The Klingon Hamlet, Shakespeare in Love, 10 Things I Hate
About You, This Island's MineÉ), we will explore the cultural politics of
adapting Shakespeare. Students will be required to engage critically with
the material and to strengthen their argumentative skills through their in-class
and written assignments. No previous knowledge of Shakespeare's works is necessary
to engage fully with the course material. Those who have done previous work
on Shakespeare will be able to expand their knowledge by focussing their major
research writing project on adaptations from their Shakespearean "source"
play of their choice. Ultimately, students will be encouraged to see their
own work as part of the continuing historical and culturally political dialogue
between critical and creative voices that engage in Shakespearean adaptation.
Poetry, Politics,
Polemics
Instructor: Anjili Babbar, Department of English
MW 2:00 - 3:15 CRN 12171
MW 3:25 - 4:40 CRN 12203
We are all familiar with
the stereotypical image of the modern poet, dressed in black and shouting
his objections to social and political injustices to a coffeehouse crowd.
Perhaps this figure seems ridiculous to us. Perhaps we have the sense that,
in modern or postmodern culture, literature does not have a place within the
context of social and political realities. Our modern poet is a presumptuous
dreamer, attempting to inhabit a world in which he does not belong. And yet,
some suggest that poetry and literary works in general, which do not serve
the interests of a particular government or ideology often more accurately
represent social and political circumstances than seemingly more "objective"
sources, such as news reports and other non-fictional writings. Is it possible
for social and political commentary in literature to be edifying to current
and future generations of readers? Or should literary works and social or
political commentary be kept separate and distinct? Are works of literature
too subjective to be edifying or historically representative? In this course,
we will consider the place of literature with regards to social and political
issues, examining works by authors such as Langston Hughes, William Butler
Yeats, Franz Kafka, Gabriel Garcia Marquez, and Fyodor Dostoevsky. Through
historical research, we will attempt to decipher to what extent these works
either reflected or affected the sentiments of readers at the time and place
in which they were produced, and through our own discussions, reactions, and
arguments, we will attempt to come to some conclusions regarding their relevance
and instructional value for modern readers. We will begin by jotting down
reactions to each of the texts which, through revision, editing, peer workshops
and class discussions, will be developed into short papers. One longer, final
research paper will consider the historical context of a text of your choice.
Identity Matters
Instructor: Koren Bakkegard, Department of English
TR 12:30 - 1:45 CRN 12061
Write What You Know...and
Know Thyself. These are common axioms in our discourse, but how do they relate
to each other? This course takes up such questions of identity-what it is,
how it's formed, why it matters. We will begin by considering who we are and
what factors influence our sense of identity and then ask how we engage our
identities in writing. Readings from a variety of disciplines (literature,
social science, biology, philosophy) and a variety of genres (fiction, biography,
academic writing, editorials, film) will address this theme of self-perception
in relation to a range of identities (racial, sexual, ethnic, religious, political,
disciplinary). These texts will frame an on-going discussion about how writers
construct, present, and negotiate their identities and how readers, in turn,
interpret and respond to them.
Students will themselves
write in a number of genres, ranging from personal narratives to formal position
papers. Classroom meetings consist primarily of seminar discussions and peer-review
writing workshops, wherein students respond to their classmates' writing and
receive feedback on their own work. Assessment is based upon a portfolio system
that emphasizes process, revision, and self-evaluation and that allows the
student unlimited opportunities to revise.
Being Digital/Digital
Writing
Instructor: Brandon Barr, Department of English
TR 12:30 - 1:45 CRN 12275
"Computing is not about
computers anymore," writes Nicholas Negroponte of the MIT Media Lab. "It is
about living." As we work and live in our increasingly digital age, we tend
to ignore the gigantic transformations that are taking place. Sure, our correspondence
is moving faster with e-mail, and 50 cable channels have exploded into 500.
But the really important transformations are both more basic and more revolutionary
than all that. As computers change the way we live, they will change the way
we talk to one another, and they will alter the ways in which we write. This
course will explore the possibilities of being digitalÑand, perhaps more importantly,
writing digitally. Our readings—many written by researchers of computer technologies—will
speculate on the social and artistic implications of technology. The class
will experiment with different methods of writing both on- and off-line to
determine the key principles for interesting and effective writing. Those
experiments will be explored in three shorter papers and one longer research
paper—all of which will be aimed at developing confidence as writers and thinkers
in the new millennium. This course will be using computers throughout the
semester, but no prior special knowledge of computers is expected.
Genre and Expectation
in Writing
Instructor: Bob Barrick, Department of English
TR 2:00 - 3:15 CRN 12087
This section of CAS 105
is structured around two simple beliefs: 1) that all writing has enormous
practical value beyond the University, and 2) that every writer is born into
a world already structured by expectations. Every bit of writing (from a grocery
list to a love letter) carries with it some combination of expectations, and
these presumptions can be most clearly defined when juxtaposed with exceptions
to the rules. We will explore, through texts on the margins of various genres,
what assumptions a writer confronts when he or she sits down to compose some
prose. We'll examine the defining characteristics of a wide variety of writing,
and, more importantly, the ways in which an understanding of your audience
can both enhance logical communication and allow for some playful twists of
creativity.
Although this isn't a
creative writing class we'll be stressing interesting and innovative approaches
to our material. Many of the short assignments, the 6-8 page paper, and the
final research paper will have "open" topics. With this flexibility we can
reach beyond the syllabus and include related materials you want to bring
into the discussion (films, authors, music, or other works) and remind ourselves
how the issues we'll be looking at extend far beyond the University.
Class meetings will cover
a wide range of topics, from the necessary nitty-gritty details (such as punctuation)
to speculation on grander questions about writing and the world. Each class
will also involve a lot of discussion, so come prepared to talk about your
writing and share your insights with your colleagues.
Beauty and Precision
- Writing with Style
Instructor: Anne Birien, Department of English
TR 11:05 - 12:20 CRN 12109
A reader's mind is filled
with verbal memories, successions of solemn encounters with language, as it
were. Among the most pleasant memories are hours spent reading the works of
achieved stylists. Authors whose words the reader relishes in and treasures
are the best models for writing; in their works, feelings and ideas are conveyed
most precisely and beautifully. If such endeavors humble aspiring writers,
they can also empower them. Literature, as Toni Morrison remarked in her Nobel
Lecture, is language kept alive; language turned "instrument through which
power is exercised." Language is not merely the writer's primary material;
it is also the "instrument" he/she uses to shape the material. Like any precision
tool, it requires sharpening and frequent care . . . for fear that it might
lose accuracy or become unusable. In this light, we will focus on the close
readings of texts, mostly but not exclusively- literary; we will analyze different
authors' (Morrison, Mansfield, James, Camus, Whitman...) stylistic strategies
and discuss the efficiency of rhetorical choices -as applicable in your own
writing.
This class rests on the
students' regular, rigorous and enthusiastic commitment to both written assignments
and oral participation; there will be no final exam.
Characters, Roles,
and Models: Interacting with Beings of Language in Literature, Play, and the
World through Writing
Instructor: Marty Boyden, Department of English
MW 3:25 - 4:40 CRN 12267
The character is arguably
one of language's greatest feats. Through it, words on a page have produced
emotional responses in readers akin to their feelings when in the company
of dear friends or loathed enemies. Written scripts are capable of prompting
the body and voice of an actor into a variety of roles distinct from the actor's
"real" life and personality. And if you think about it, how else do we come
to ultimately express and understand our own "real life" roles and personalities
but through language?
In this course, we will
investigate how characters function in a variety of ways: as formal parts
of literary works, as reflections of people in the world out of which the
literary work was made, and as potential models through which readers and
audiences may understand and fashion their own lives. To do this, we will
"read" a variety of materials: literature, art, music, playthings, academic
publications, games, and popular media. However, the most important subject
matter for this course is you, the CAS105 student and your writing. To phrase
the goals of this course in accordance with its theme, one may say that the
character on whose development we will spend the most time is the university
student writer and your performance in the variety of writing roles which
the university and the larger world will ask you to play.
Writing Youth: The
Making and Re-making of Youth Identity in American Culture, or From the Mouths
of Babes
Instructor: Barbara Brickman, Department of English
TR 12:30 - 1:45 CRN 12327
An article entitled “The
Global Teenager” in the Winter 1989 issue of Whole Earth Review found that
by the mid-1990's over half the world's population would be under the age
of twenty. So, who are these people? What does it mean to be a “youth” in
the U. S.? One's youth, or particularly one's teen years, is a time of making
one's identity, solidifying who you are. This class will investigate how the
choices made by the “youth” reflect and perhaps influence changes in American
culture. How do “youth” view, react to, and live the overwhelming influence
of mass media, the reliance on computer technologies, the change in gender
roles, the status of the university, etc. We will use popular essays, some
literature and film, and critical essays to examine these questions and more
about youth and the present state of American culture. You will be expected
to write several essays on the topics discussed, and some class time will
be devoted to writing workshops, as well as peer reviews and revisions, as
ways to develop and clarify ideas or arguments. There will be no final exam.
Reading the World
Around You
Instructor: Amy Fenstermaker, Department of English
MWF 1:00 - 1:50 CRN 12185
The subject for this
writing class will be the cultural artifacts around us, and is based on the
belief that these artifacts express something worthwhile. We will explore
what the literature, advertisements, television shows, and music of our society
have to say, and how, in some cases, they manipulate us. The focus will be
how to interpret these various texts, develop an argument, and use evidence
to support it. Students will write four papers over the course of the semester,
one on each of the subjects mentioned, of about 3-5 pages in length. The last
paper will be a longer research paper. Some class time will be devoted to
writing workshops, as well as peer reviews and revisions, as ways to develop
and clarify ideas and arguments.
Waters's World: Hollywood,
the "Independents," John Waters and Cinematic Form
Instructor: Joseph Cameron, Department of English
MW 3:25 - 4:40 CRN 12123
Despite the cliché "just
a movie," films prescribe and shape worldviews for their spectators. Fundamentally,
this course will engage the techniques films use to represent the world around
us through a conversation between the Hollywood and "Independent" (an amorphous
category) styles of film-making and the cinematic work of an individual director,
John Waters. Waters's cinematic corpus is important in that it both directs
the perspective of this course and comments on conventional modes of film-making
both explicitly and implicitly. The course will be divided into four sections
corresponding to each of the four formal papers students are required to compose
considering questions of cinematic construction of meaning, ideology, treatment
of "taboo" subjects, and celebrity status. Throughout the course we will critically
evaluate films (without resorting to "thumbs up" or "thumbs down" assessments)
and utilize these films as catalysts for enhancing our reasoning skills. Simultaneously,
we will implement these reasoning skills both orally and, in particular, in
written form (through formal and informal writing assignments). In doing so,
we will reevaluate and reconsider our own perspectives in favor of a larger,
inclusive outlook. Throughout the course of the semester, students will engage
diverse readings on cinematic form's relation to culture as well as reviews
used to spark students' consideration of particular films.
Reading the Tradition:
University of Rochester Writers
Instructor: Jay Lavigne, Department of English
TR 9:40 - 10:55 CRN 12160
TR
2:00 - 3:15 CRN 12352
When you think of Rochester,
what immediately comes to mind? Writers? Probably not. Yet Rochester has inspired
the imaginations of generations of writers. Did you know that Shirley Jackson,
the author of the short story, "The Lottery," studied here as an undergraduate?
Or that the University claims among its students and faculty, past and present,
a long list of award winning writers, including Pulitzer Prize winning poets
W.D. Snodgrass, Anthony Hecht, and Galway Kinnell? Or that one of the most
promising young novelists today, Joanna Scott, teaches in our own English
Department? Over the course of the semester you will have the opportunity
to become more familiar with the myriad voices that make up the University's
literary tradition. We will be reading short stories, novels, poems, memoirs
and essays written from the mid-1940's to present day, all in an attempt to
gain a better understanding of this literary legacy and, perhaps, to gage
our own place in it.
This course takes writing
seriously, both as a field of inquiry, and as a necessary skill for all university
students. This means class time will be spent not only discussing the quality
or value of the literature at hand, but also considering the effectiveness
of your own and your classmates writing. Assignments will include weekly critical
response papers (1-2 pages), a letter of inquiry to a Rochester writers, a
formal essay that will be presented to the class, and a final research paper
on a figure/work/topic relevant to the concerns of this course. There will
be no final exam.
Mongrel Aesthetics:
An Interdisciplinary Approach to Literature
Instructor: April Miller, Department of English
MWF 1:00 - 1:50 CRN 12192
This course will be guided
by the belief that literature is not created in a cultural vacuum; every literary
"event" has its own context. With this in mind, we will use the works we study
as windows into the historical and cultural periods in which they were originally
composed. While this course will focus on written texts, we will also consider
a selection of 'non-literary' art forms, such as film, visual art, and writing
from the popular press, in order to understand how writing is created within
wider cultural and historical contexts. By examining numerous narrative forms,
students will develop the critical reading, writing and research skills necessary
to construct a diverse portfolio of writing, including an extended argumentative
essay and a final research paper. Through peer evaluation, editing seminars
and on-going revision, students will strengthen this portfolio throughout
the term. Assessment will emphasize the importance of the revision process
and participation in class discussion and writing workshops. The goal is to
have students emerge from this class as more confident writers who are capable
of handling the diverse tasks in composition they will be asked to perform
as both students and professionals.
Imagination and Literature
Today
Instructor: Chuck Ripley, Department of English
MW 6:15 - 7:30 CRN 12256
Through weekly writing,
including multiple reports, papers, peer reviews, and self-assessments, this
course will give students an introduction to college reasoning centered around
literary analysis. The major focus of this course will be to ask how the kind
of story-telling usually associated with literature and myths of the past
can still matter today. In an attempt to answer this question, we will take
as our central text large excerpts of the Sandman, a 75-issue comic published
from the late 1980s to the mid-90s that chronicles the life of Morpheus, the
Lord of Dreams. Using the Sandman as a springboard, we will investigate what
is the place for imagination and dreams in today's society, exploring how
the Sandman invokes literature and myths in a way that is believable to a
contemporary audience and how it uses its medium as a foundation for its fantastic
vision and mythology in today's world. Our other texts will include literature
invoked by the Sandman: Shakespeare's Midsummer's Night Dream and The Tempest,
excerpts from Milton's Paradise Lost, the early chapters of Genesis, Aeschylus's
Emenides, Mark Twain's “The Leaping Frog of Calaverous County,” and Thomas
De Quincey's Confessions of an Opium Eater. We will also use texts that raise
similar issues of medium: Blake's Songs of Innocence and Experience, Windsor
McCay's Little Nemo, and Art Spiegelman's Maus; and to help the writing process,
a college writing guide.
Attendance for this class
is required. This is a writing intensive course, and will require a serious
engagement with one's own writing. As noted, students will be responsible
for weekly reports, peer reviews, and several analytical essays, including
a research paper.
Humor: A Multidisciplinary
Approach
Instructor: Ann Robinson, Department of English
MW 6:15 - 7:30 CRN 12374
“Writing is easy. All
you do is stare at a blank piece of paper until drops of blood form on your
forehead.” - Gene Fowler (1890-1960)
Learning how to write
well is an admittedly long and arduous process, requiring determination and
practice, practice, practice. As we develop the skills which will prove invaluable
to you as you complete (successfully, of course) your academic career, we
will explore the phenomenon of humor from the perspectives of disciplines
as various as anthropology, literature, medicine, and sociology. From Chaucer
to Freud to Life in Hell, we'll examine the many functions of humor in our
lives. How do we define humor? Why do humans laugh? Is humor universal? Timeless?
What role does language play? Culture? What triggers us to recognize humor?
What is the role of humor in communication? In community? While we learn to
read closely and critically and write clearly and effectively, we will examine
humor as a social phenomenon, exploring the historical and cultural constructs
that govern our use and understanding of humor. Using humor as our vehicle,
this course will focus on recognizing and developing an argument, organizing
writing effectively, identifying writing for a specific audience, and developing
an academic voice. You will emerge from this course a more competent and more
confident writer. After all, writing is easy.
The Heroic Ethos of
Anglo-Saxon Literature
Instructor: John Sutton, Department of English
TR 12:30 - 1:45 CRN 12316
This course centers around
the world of the comitatus, a Latin term referring to the social organization
of aristocratic males in early medieval Germanic cultures; the comitatus was
a fellowship of warriors in which men provided their lord with loyalty and
military service and, in return, received treasure and a place in the lord's
hall. The theme of a tightly-knit warrior-band is prominent in medieval Germanic
writings, particularly in the literature of our language's earliest ancestor,
which we call "Old English" or "Anglo-Saxon."
My goals for this course
are to introduce students to the heroic ethos of Anglo-Saxon literature and
to assist them in honing their skills at writing about literature and literary
criticism. Our class discussions will encompass such themes as the construction
of gender and gender roles, male homosocial bonding, conflicting loyalties,
monstrosity, outcasts and Others, the place of women in this male-centered
world, and the influence of Christianity upon the heroic ethos. Students will
explore these and other issues in their written assignments (four formal papers,
each with peer reviews and self-assessments, as well as daily in-class writing
exercises). The syllabus will include an array of texts ranging from elegiac
poetry to medieval chronicles; some of the more well-known works include The
Battle of Maldon, The Wanderer, and the most famous of Old English poems,
Beowulf (our edition will be the recent, widely-praised translation by Nobel
Prize-winner Seamus Heaney). We will, of course, study all of these texts
in translation, but I will read a great deal of Anglo-Saxon aloud so that
students can hear what the ancestor of our language probably sounded like.
Other assorted requirements for this course include class participation and
faithful attendance; there will be no midterm or final exam.
Education Narratives
Instructor: Anne Zanzucchi, Department of English
MW 3:25 - 4:40 CRN 12248
This course will provide
opportunities for you to consider and evaluate your own educational experiences
as you draft and revise a series of argumentative essays and a final research
paper. These writings will respond to the overall question, "What does it
mean to be educated?" In particular, we will focus on people who have been
excluded from educational institutions and have struggled to become educated.
The readings will include a selection of nineteenth century literature responding
to the rise of national education and the development of human rights. These
authors will include: Mary Wollstonecraft, William Wordsworth, Mary Shelley,
Fredrick Douglass, George Eliot, and Thomas Hardy.
Writing
about History
Writing
with the Masters: Russian Literature beyond Dostoevsky
Instructor: Tatyana Bakhmetyeva, Department of History
TR: 2:00 - 3:15 CRN 12340
“There is no royal path
to good writing; and such paths that existÉlead through the jungle of self,
the world, and craft.” - Jessamyn West.
As this citation suggests,
writing is an active process, a journey, and not simply a product of momentary
inspiration. We will begin our journey by asking ourselves questions: How
do we write? Why do we succeed and why do we fail in our attempts at writing?
What is successful writing? It is by answering these questions that we will
move along our path to the ultimate goal of this course: “better writing”
defined in the academic context. We will conquer the inevitable stumbling
stones that lie on this path by developing sensitivity to the audience, practicing
skills of thesis invention through various pre-writing exercises and finding
the structure of an argument through multiple revisions of assigned papers.
Since every traveler needs good companions for an enjoyable trip, we will
be making our journey in the formidable company of Russian literary masterpieces.
Critical reading and analysis of short stories by famous Russian authors will
stimulate class discussions and writing assignments. Reading selections may
include stories by Pushkin, Lermontov, Dostoevsky, and Gogol. Additional interdisciplinary
readings related to the topics of Russian history, literature and culture
will introduce the students to the rhetorical conventions of the academy and
provide an opportunity to exercise critical reading and writing skills on
non-fictional texts.
Truth-Tellers and
Other Rabble-Rousers: Dissident Voices from Totalitarian Europe
Instructor: Julia Goodwin, Department of History
MWF 1:00 - 1:50 CRN 12076
In the totalitarian political
climate typified by Nazi Germany, Stalinist Russia, and its Eastern Bloc satellites,
words, especially words committed to paper, could be a life or death matter.
Despite rigorous censorship and threats of imprisonment, exile and execution,
creative individuals like Russian poet Anna Akhmatova and Czech Playwright
Vaclav Havel dared to think and write critically. Placing personal conscience
above dogmatic loyalty to the State they and their fellow dissidents revealed
a deep-rooted need to bear witness to the life-shattering events of their
time and reaffirm the power of truth. Students in this course will have the
opportunity to explore the literature of dissent by reading, discussing, and
most importantly, writing about representative works encompassing a variety
of literary genres (poetry, essays, memoirs, and novels). Written assignments
will include in-class writing, response papers, and three short papers designed
to help students interact with the material as well as place it in political
and historical contexts. Peer review and revision of these shorter assignments
will be an intrinsic part of the course leading to a final research paper,
which will enable students to build upon their earlier work, thereby further
facilitating the revision process essential to effective writing.
EVERYONE GETS AN ‘A'
IN THIS COURSE!! (and other lies): Writing about the History of American Advertising
Instructor: Mary Henold, Department of History
TR 12:30 - 1:45 CRN 12301
Now that I've caught
your attention, allow me to give you my pitch. In this class we will explore
the evolution of American advertising, from the late nineteenth century to
the present day. We will use advertisements as primary sources to examine
not only advertising strategy and style, but more importantly the role advertising
has played in American culture. We will approach these sources as historians
do, investigating their context and then writing about their significance.
You will analyze essays by historians and other academics to explore how scholars
develop strong arguments based on evidence. You will then begin a process
of research, writing, peer review and re-writing in which you will practice
the skills you will need to develop and articulate arguments of your own.
For most writing assignments, including the research paper, you will have
the opportunity to choose primary sources from time periods and subject areas
that interest you, as long as your essays address questions about advertising
and its function in American culture.
Writing the History
of One's Own Life
Instructor: Patrick LaPierre, Department of History
TR 2:00 - 3:15 CRN 12093
How would you write the
history of your own life? Autobiographies have loomed large in the construction
of American History. Yet, the posthumous significance of autobiographies is
no simple story. Autobiographies, unlike diaries or journals, involve the
reconstruction of one's own life after having reflected on its meaning and
significance. As such, many autobiographers write with an audience in mind
and seek to assemble an image of themselves based on what others have thought
of them or how they wish to see themselves remembered. All these elements
offer challenges to historians who wish to use autobiographies as primary
source material. Looking at the autobiographies of such figures as Benjamin
Franklin and James Weldon Johnson, among others, we will examine the written
construction of these works and how historians have approached them as historical
texts. Course requirements will include three short papers which will be reworked
and refined in revision workshops. Finally, students will be assigned one
longer research paper (8-10 pages) that has, as its central topic, one of
the autobiographers discussed in class and which uses the subject's autobiography
to probe the difference between the portrait the author has painted of him
or herself, and how posterity sees them.
Utopia in History
and Fiction
Instructor: Tara McCarthy, Department of History
MW 3:25 - 4:40 CRN 12114
Have you ever thought
about living in a co-op or international community? How would you organize
the ideal community? The search for utopia is a recurring theme in history
and literature. This course will explore various historical and fictional
designs for perfecting society. We will read influential utopian novels, learn
about their historical contexts, and compare them to real experimental communities
in American history, with particular attention to the influences of religion,
socialism, and feminism. Students will develop critical reading and writing
skills through a series of short papers, reflecting on the writing process
by revising their own work and offering constructive criticism to their peers.
Course readings may include novels by Charlotte Perkins Gilman, Edward Bellamy,
and B.F. Skinner, as well as articles on the utopian movements of the nineteenth
and twentieth centuries.
Witches and Witch-Hunts
Instructor: Neal Palmer, Department of History
MW 6:15 - 7:30 CRN 12137
MW
3:25 - 4:40 CRN 12146
Witches and witchcraft
have long been a part of European and American culture. But what do you really
know about them? This course will use various techniques of writing, including
revisions, peer reviews, and research, as the bases for exploring and learning
about witches, witchcraft and witch-hunts. Students will learn the history
of witches and witchcraft, the role they played in early modern civilization,
and discuss the continuing attraction of this form of worship in the modern
world. The related phenomenon of the witch-hunt will also be discussed. Students
will learn about the dynamic behind early modern witch-hunts and how they
are related to modern events such as the "Red Scare" in 1950s America. The
class will read historical scholarship, primary source material such as proceedings
of actual witch trials, Arthur Miller's The Crucible, and Margot Adler's Drawing
Down the Moon. The class will also watch two recent movies about witchcraft.
Students will complete several writing assignments in which they will practice
and enhance their ability to form a clear written argument and present textual
evidence to support that argument. The writing assignments will consist of
three 4-6 page papers and a longer research paper, all of which will be subjected
to peer review and revision.
The Birth of Consumer
Society
Instructor: Henry Sommerville, Department of History
MWF 9:00 - 9:50 CRN 12158
MWF
1:00 - 1:50 CRN 12395
Have you ever been told,
“These days everyone demands instant gratification”? Pundits may blame our
impatience for pleasure on Coca-Cola, MTV, or the internet, but some historians
are asking if the present abundance of material goods has really changed our
values and made us different from people in the past. This class will explore
historical explanations for the rise of a consumer society and a culture characterized
by shopping malls, television advertisements, credit cards, and, of course,
instant gratification. The class will read current scholarly and popular writings
and look at artifacts from the past, including advertisements, early sociological
writings, and fiction. The course will stress writing, an activity in which
gratification is sometimes long delayed. Students will write and revise several
short essays and a longer research-based paper. They will develop their college
writing skills through self-evaluation, writing workshops, and peer review.
Sex, Lies, and Videotape
Instructor: Lisa Szefel, Department of History
TR: 12:30 - 1:45 CRN 12281
This course will focus
on developing critical writing skills by analyzing radical movements of the
1960s in America. We will look at issues of sex (the women's liberation movement,
STDs, the Pill), lies (by John F. Kennedy, Lyndon B. Johnson, Richard Nixon),
and videotape (as used in Presidential elections, the civil rights movement,
the Vietnam War). Analyzing these topics will illuminate current attitudes
toward politics and gender relations. Such issues also, ultimately, probe
questions about identity: about who we are as individuals and as a nation.
Students will learn how to use evidence to build arguments in clear, creative,
compelling narratives. Readings will include articles and book excerpts written
by both journalists and historians. Assignments will include short papers,
a research essay, and an oral history interview, all of which will be reviewed
by peers.
Writing
about Political Science
Campaigns
and Elections
Instructor: Christian Grose, Department of Political Science
TR 2:00 - 3:15 CRN 12338
Is voting rights reform
needed to fix alleged irregularities from the 2000 presidential election?
Is the American electoral system in need of campaign finance and voting reform?
What roles do campaign advertising and spending play in the election of members
of Congress? These are the types of questions that have been analyzed by scholars
and raised by political practitioners. In this course we will discuss and
analyze American campaigns and elections. Students will learn and write about
presidential and congressional elections, voting rights, the electoral concerns
of representatives, campaign finance issues, and campaign advertising. The
writing requirements for the course will include the following: informal writing
exercises in class; formal papers with clear theses and evidence that support
the paper's main argument; short papers that will focus on critical analysis
where students will analyze what factors drive members of Congress to take
particular positions on these issues; and a longer research paper where students
will formulate a research question, accumulate evidence, and supplement this
evidence with arguments and conclusions. These papers will be anonymously
peer-reviewed in class and through a course listserv. Participation in class
discussion will also be expected.
Writing
about Philosophy
Introduction
to Philosophy
Instructor: Nathan Nobis, Department of Philosophy
TR 12:30 - 1:45 CRN 12229
This course is designed
to improve your ability to write clear, simple, organized, and understandable
argumentative essays. We will read, discuss, and write, revise, edit, and
rewrite in attempt to reasonably answer some (but probably not all) of these
questions in the core areas of philosophy: (1) What is the nature of good
reasoning? [Logic] (2) What is knowledge? Do we know anything? [Epistemology]
(3) Is there a God? Is there good reason to believe there is a God? [Philosophy
of Religion] (4) What is the nature of persons? Are we completely physical
objects or do we have immaterial souls? [Philosophy of Mind] (5) Are we determined
to do what we do, or are we free (or are we both determined and free?) [Metaphysics],
and (6) What is the nature of morality? What's right and wrong? [Ethics].
Students interested in
these topics and serious about working to improve their writing are encouraged
to enroll. Here is some early advice on writing and a hint at what kind of
writing will be cultivated in this course: You should strive to write for
a reasonably intelligent audience unfamiliar with the material. In other words,
someone who has never taken this course should be able to understand your
paper. One good way to ensure this is to let a roommate or friend (who isn't
taking the course) read your paper. If she can make sense of it and can explain
what's going on to you, you're on the right track. If not, you should strongly
consider rewriting your paper until she can make sense of it. You should think
of yourself as trying to teach the material to the reader.
The rationale for this
requirement is as follows: most of the writing you do in your professional
life will be for people who ask you to answer a question because they do not
know the answer. They won't be satisfied with your work if they have to guess
at what you mean because your sentences are unclear or ungrammatical. Your
job is to present your answer in a clear, concise way that anticipates and
responds to questions and objections that might arise in the reader's mind.
This ability is essential to good analytical and expository writing. A primary
goal in this course is to improve your ability to do this kind of writing.
Writing
about Visual and Cultural Studies
Visual Culture
Instructor: Jonathan Finn, Visual and Cultural Studies Program
MW 3:25 - 4:40 CRN 12230
Images surround us at
work, school, and home, and all points in between and beyond. Much of what
we know about the world comes from our ability to interpret, or read, images.
Textbooks, magazines, newspapers, billboards, television, film, the visual
arts and the Internet all depend on images to communicate information to their
audience. As such it has become increasingly important to be able to think
critically and communicate about the position and role of images in our own
lives and in society at large. Using this visual culture as the subject of
study, this course will provide instruction and practice in writing at the
college level. Through this course we will examine and write about the function
of images within the arts, sciences and in everyday life. This interdisciplinary
approach will enable students to think and write critically about their own
fields of interest. In addition to continued informal writing exercises, students
will produce two short papers and will participate in peer evaluation and
class discussion. To strengthen and formalize writing and communication skills,
students will be responsible for an oral presentation and a longer research
paper.
The Written Word Responds
to the Motion Picture
Instructor: Daniel Humphrey, Visual and Cultural Studies Program
TR 2:00 - 3:15 CRN 12369
Through its duel focus,
this course gives students a valuable overview of two of the most important
forms of modern discourse: The written essay and the feature film. From journalistic
reviews to historical analyses, from social criticism to theoretical ‘readings'
of films, students will learn the various strategies for researching, analyzing
and writing about a variety of different kinds of movies. As we discuss structure
and rhetorical style, we will also engage in some of the most exciting debates
of our age: How film communicates, promulgates, distorts, and illuminates
various crucial issues involving race, class, sexuality, gender, nationalism,
and disability. The course will involve weekly reading assignments, occasional
film screenings, writing workshops, discussions and, of course, a series of
written assignments to be crafted according to the essay types discussed.
Architecture and Society
Instructor: Daniela Sandler, Visual and Cultural Studies Program
TR 9:40 - 10:55 CRN 88700
How to look at architecture?
How to write about it? Intuitive as this may seem, since we all use built
spaces, it is often hard to describe the ways we perceive and interact with
buildings. Not only do spatial analyses involve formal readings, but they
also include historical context, social impact, cultural meaning, and function.
The critical understanding of Architecture brings together all of these aspects.
In this course, we will study contemporary architectural production and criticism.
You will use writing in order to engage with images and texts, and formulate
your own questions. You will relate your texts to existing critical writing
from newspapers, books and journals. Feedback from the instructor and from
the class will contribute to the development of your skills through workshops
and peer reviews of formal and informal writings.
Critical Art History
in the Twentieth Century
Instructor: Norman Vorano, Visual and Cultural Studies Program
MWF
1:00 - 1:50 CRN 12383
Although Georges Braque
said “There is only one valuable thing in art: the thing you cannot explain,”
art historians persistently endeavor to interpret and explain art of the twentieth
century. How have art historians debated concepts of style and notions of
“universal beauty”? How can we give meaningful consideration to social factors
such as class, race, gender and sexuality when we think and write about visual
art? The aim of this course is to introduce students to a broad range of critical
approaches to twentieth century art history, and to sharpen their ability
to think and write critically about art-works. Students will not only use
internet sites, read books/journals and newspaper articles, but they will
gain practical experience by looking at slides and visiting art exhibitions.
In addition to class discussions, the students will respond to assigned readings
in a class newsgroup. They will write and workshop two short essays, 5 pages
each, which may stem from their informal newsgroup responses. In order to
develop an ability to write a sustained, researched argument, there will be
a final, long essay (10-12 pages) and a corresponding short class presentation
(15 minutes).
Writing
about Science and Technology
From
Political Punk to Corporate Pop: What is This Thing We Call Music? Instructor:
Drew Abrams, Department of Physics and Astronomy
TR 12:30 - 1:45 CRN 12294
This course will look
at what we consider to be music and how the idea of what music is has changed
as technology has advanced. We begin by asking, “What differentiates music
from noise?” and that will be used as the central question throughout the
course. We will look at music as a medium for getting a message across and
ask, "Is it still music when the original intent was to transmit an idea and
the secondary intent was to create something that sounds pleasing to the ear?"
This course will look at the scientific definition of music and how that definition
has been modified as new technology has been introduced. This current battle
over music on the internet will be examined and we will explore how increasing
technology has had an effect not only on the creation of music, but also on
the idea of music ownership. This course will emphasize writing throughout
with workshops, peer-evaluation, student journals and, in particular, critiques
on various musical genres and songs and an analysis of the message the songwriter
is trying to send through his/her music.
Extended
Courses (CAS 105E)
Permission of
the College Writing Program required.
Exploring Discourses of Science and Technology
Instructor: Pam Bedore, Department of English
TR 12:30 - 1:45 CRN 12400
(Students
must register for recitation #12498 when registering for this section. REC:
F 9:00 - 9:50)
TR
3:25 - 4:40 CRN 12411
(Students
must register for recitation #12479 when registering for this section. REC:
F 10:00 - 10:50)
Bill Joy, president of
Sun Corporation, has recently spoken out against blindly accepting new technologies
without fully examining their potential dangers. He is joining an ongoing
critical conversation about the technologies that affect virtually every area
of our daily lives. In this course, we will examine the communication strategies
most commonly used in science and technology writings of various kinds. Students
will be exposed to critical essays, popular media, and fictive narratives
that deal with issues of technology. Although our class will begin by discussing
pre-selected examples of technology writing, students will be encouraged to
analyze and emulate science writing in an area of their own choosing in the
second half of the semester. Areas may include information technologies, reproductive
technologies, medical technologies, robotic technologies, etc. Students will
learn critical thinking skills and writing strategies that will be beneficial
throughout their academic careers in the sciences or the humanities.
American Gothic
Instructor: Gina D. Tonogbanua, Department of English
TR 3:25 - 4:40 CRN 12457
(Students must register for recitation #12425 when registering for this section.
REC: M 12:00 - 12:50)
Elizabeth Terry writes,
"it's harder to say which is more frightening - the shapes that we really
see by the light of the fire, or the figures we try to convince ourselves
are not out there in the dark waiting and watching." From "The Legend of Sleepy
Hollow" to "The Yellow Wallpaper," we will examine the appeal of the gothic,
what its appeal says about us and the way we think, and what the "American"
in American Gothic means. You will be asked to formulate questions about the
assigned text and lead class discussion. Course requirements will consist
of a weekly two-page response paper in addition to a number of longer writing
assignments and a final research project. This class will also focus on drafting
and revision; you will be expected to read and respond critically to writing
produced by other class members.
Lifted Voices: Originals
and Imitations
Instructor: Brian O'Sullivan, College Writing Program
MW 2:00 - 3:15 CRN 12466
(Students must register for recitation #12482 when registering for this section.
REC: F 12:00 -12:50)
MW 3:25 - 4:40 CRN 12433
(Students must register for recitation #12444 when registering for this section.REC:
F 11:00 - 11:50)
"Lifted voices" can mean
a couple of things: voices raised with inspiration, expressing authentic feeling,
or voices deftly acquired, impersonated, or even ripped off. These two meanings,
though seemingly opposite, are inseparable; all writers build upon the work
of others in producing their own "original" work. In this course, we’ll work
together to clarify the crucial lines between outright theft, uninspired copying,
and creative use of sources. We’ll read texts that meditate on originality,
and texts that call their own originality into question, including parodies,
adaptations, and translations. Some of our readings will pair an "original"
with an "imitation," such as Virginia Woolf’s Mrs. Dalloway with Michael Cunningham’s
The Hours. We’ll ask what gets lost and what gets added in the "secondary"
texts. You’ll also produce "original imitations." You’ll model some of your
papers after some of our readings, and you’ll practice strategies of summary,
paraphrase and quotation. Through peer critiques, you’ll have the opportunity
to incorporate your classmates’ perspectives and suggestions into self-assessments
and extensive revisions of your own writing. Your work in this course—including
discussion, informal writings, formal essays and a final research paper--
will add to your skill and confidence in controlling the sources you use and
the models you imitate.
Last updated 04/18/2001
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