Fall 2023 Courses
 A&S 310 001 SPECIAL COURSES IN HUMANITIES: BookTok Book Club: Dark AcademiaMichelle Sizemore R 1:00 (1 credit hour course) This 1-credit course is for students who love to read but have a hard time finding the time. Inspired by TikTok’s BookTok, this course will explore “Dark Academia” in the format of a book club – casual, conversational, and member-guided. We will ask questions such as: “What is Dark Academia? Who are its followers? Why is it trending?” Through a semester-long investigation of these questions, we’ll arrive at different definitions of a genre that spans mystery, thriller, fantasy, YA, and sci-fi and generally involves an elite or exclusive educational institution, the pursuit of knowledge or the discovery of a secret, and harmful or undesirable aspects of academic life. Texts may include Edgar Allan Poe’s “William Wilson” (1839) and “The Raven” (1845), Oscar Wilde’s The Picture of Dorian Gray (1890), Donna Tartt’s The Secret History (1992), Mona Awad’s Bunny (2020), Faridah Àbíké-Íyímídé’s Ace of Spades (2021), and Netflix’s Wednesday (2022). Interested in 3 credit hours instead of 1? Please contact Dr. Sizemore at michelle.sizemore@uky.edu |
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 ENG 107 005-008 INTRODUCTION TO CREATIVE WRITING This is an introductory course in creative writing, one meant to both invite students into the world of contemporary literature and to participate in that rich experience. This class aims to familiarize students with 1) the basic elements of creative writing and 2) three genres: fiction, poetry, and creative nonfiction. Students will be asked to both read actively and write imaginatively by using the texts we study as models. By the end of the course, you will have produced a body of work in which you can take pride and will have prepared yourself to move on to upper-level creative writing classes, if that is your goal. If it is not, this class aims to prepare you for being an engaged, appreciative, life-long student of creative writing—also known as literature. UK Core: Arts & Creativity |
ENG 107 009-012 INTRODUCTION TO CREATIVE WRITING |
ENG 107 013-016 INTRODUCTION TO CREATIVE WRITING |
ENG 107 017 INTRODUCTION TO CREATIVE WRITING |
ENG 107 018 INTRODUCTION TO CREATIVE WRITING |
| ENG 107 INTRODUCTION TO CREATIVE WRITING Julian Long Section 017 TR 9:30 Section 018 TR 11:00 Course description forthcoming. UK Core: Arts & Creativity |
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 ENG 130 LITERARY ENCOUNTERS: Deviant Women Anika Jensen Section 004 TR 9:30 Section 005 TR 11:00 Lady Macbeth, Irene Redfield, Galadriel, Amy Elliot-Dunne: some of the most compelling, complex, and contested female characters in literature are those who choose to stray from accepted social norms. In this course, we will examine depictions of deviant women in novels, plays, poetry, music, graphic novels, and memoirs to investigate what it is they seek to be free from, to achieve, to create, or to destroy. In other words, who are these women, and from what do they deviate? How do they (attempt to) break out of a prescribed mold of femininity, decency, and morality? In what ways does their womanhood interact with race, class, and sexuality, and why is their rebellion so controversial? The texts in this class will portray women who are sometimes unpopular and morally gray and sometimes universally admired and respected. Ultimately, literature engaging with deviant womanhood can help us understand not only the expectations placed on women and femininity in our current moment but also the ways in which we can imagine pushing the boundaries of the status quo. UK Core: Arts & Creativity |
 ENG 130 LITERARY ENCOUNTERS: POV: She Speaks!Caitlin Coulter Section 006 MWF 9:00 Section 007 MWF 10:00 From Moana’s misunderstood Te Fiti to Maleficent’s begrudging affection, contemporary imaginations have been captivated by the idea of giving the classic villains room to air their justifiable rage, creating space for nuance and muddying the reputation of heroes. We see this in the #POV trends on TikTok and the endless creativity of fan fiction, but the idea of flipping the script isn’t new! Literature has been sharing the other side of narratives for a while…In this class, we’ll explore novels that humanize monsters, complicate traditional stories, and force us as readers to ask big questions: What other narratives have we only heard one side of? What unwritten stories are there to consider, and why haven’t we seen them? Why are we drawn to these narratives, and how do we relate to them? Although this course will include a formal writing assignment and shorter writing exercises throughout the semester, we will also use multi-media formats and responses to explore the works of authors who show us another side of the story. We will learn to read scholarship and novels side-by-side and organize our responses in useful and personally relevant ways. Most importantly, we’ll be working together to think about the ways that narrative is crafted and how this impacts our opinions of characters and “the point” of the novels (and even how we might see this outside of literature!). UK Core: Arts & Creativity |
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Global Shakespeare will expose students to selected productions and adaptations of Shakespeare's plays by authors and acting companies from Asia, the Middle East, Africa, the Americas, and from European nations other than Great Britain. In our globally connected age, Shakespeare has crossed borders, occupying an honored place in the school curricula and cultural aspirations of many formerly colonized nations. In a post- colonial age, he has become the medium through which multiple cultures articulate their own values and enter into equal intellectual and aesthetic exchange with the English-speaking west. Students in the course will be asked to ponder what there is about Shakespeare that makes his plays such rich raw material for these encounters and exchanges. UK Core: Arts & Creativity |
 ENG 180 001-004 GREAT MOVIES: Science FictionFrederick Bengtsson MW 2:00, F varies Science fiction movies have been around since the beginning of cinematic history. Filmmakers have transported us to the moon and taken us on space odysseys, have shown us futures both utopian and dystopian, have celebrated the possibilities of science and worried about its costs, have stretched the bounds of the imagination and pushed the possibilities of film. Along the way, we’ve had close encounters with aliens, robots, artificial intelligences—but also with ourselves. In this course we will watch and engage with a variety of science fiction films, thinking about how and why they tell their stories, about what is at stake in their representations of technology, of the alien, and of humanity, and about what the worlds that they imagine want to tell us about the world in which we live. In this course, you will gain a better understanding of film as a creative medium and of filmmaking as a creative process by paying attention to and thinking about the impact of artistic choices and decisions at various stages of the filmmaking process. You will also be putting your understanding and insights into practice creative work of your own. UK Core: Arts & Creativity |
 ENG 180 005 GREAT MOVIES: Bizarre NoirHenry Knollenberg Section 005 MWF 10:00 Section 007 TR 12:30 Private investigators… Femme fatales… Shadows… Cigarettes… The film noir of pre-1960s Hollywood is chock full of such recognizable conventions. The world these conventions illustrate is one of grit, fatality, and moral ambiguity – an already interesting mix; however… What if there were robots, too? Serial killers? Talking insect-typewriters? McDonalds? Many filmmakers – such as, but not limited to, David Lynch, David Cronenberg, Wong Kar-wai, and Stanley Kubrick – have aimed to answer such or similar questions. This class aims to further an understanding of their answers both via critical analysis as well as creative exercise. In a genre as specifically stylistic as noir, why introduce curve balls? What makes a film neo-noir? What do these postmodern films have to say about our culture? UK Core: Arts & Creativity |
 ENG 180 006 GREAT MOVIES: Critical Ape TheoryMWF 11:00 Michael Genovese Ancient Greek accounts describe encounters between travelers and hairy, savage men. One such source named them “Gorillae,” and in the nineteenth century European scientists would borrow this name for a newly “discovered” great ape (the local people were of course already familiar with these strange creatures). Coinciding as it did with the revolution in natural history catalyzed by the work of Charles Darwin, this encounter prompted a radical rethinking of the relationships between humans and their nonhuman primate relatives. In turn, literary and cinematic engagements with encounters between men, women, and non-human or quasi-human animals became ubiquitous in twentieth-century popular culture. Why do such literary and filmic representations of encounters between humans and other animals maintain such cultural currency and fascination? This course will investigate the cultural history of such representations, focusing on four key narratives: Edgar Rice Burroughs’s 1914 novel, Tarzan of the Apes; Merian C. Cooper’s film, King Kong (1933); Creature from the Black Lagoon (1954); and Pierre Boulle’s 1963 novel, La Planète des singes (Planet of the Apes). Each of these narratives has been remade, adapted, and retold countless times, from the first film adaptation of Tarzan in 1918 to Guillermo del Toro’s 2017 The Shape of Water to the myriad adaptations of Kong and Planet of the Apes. These texts and films, as we will see, provide screens through which readers and viewers encounter questions concerning race, sex, gender, and what it means to be human. UK Core: Arts & Creativity |
 ENG 191 001 LITERATURE AND THE ARTS OF CITIZENSHIPTR 11:00 Martin Jensen Since the rise of modern nation states, literature has been instrumental in both constructing and challenging notions of national belonging. In this course we read novels, poetry and essays that examine the intersections of racial, gender, and class identities within the context of the nation. We explore how African American literature and recent novels of immigration seek to transform our conception of what the national community is and should be. Course readings include texts by James Baldwin, Ta-Nehisi Coates, Claudia Rankine, Mohsin Hamid, Junot Díaz, and Cristina Henríquez. As we read these texts, we consider the meaning of citizenship and nationality at a time when people move and migrate; goods arrive from abroad; and we are said to live in a post-national, “globalizing world.” UK Core: U.S. Citizenship or Intellectual Inquiry in the Humanities |
 ENG 207 001 BEG WKSHP CRTV WRT: PoetryMWF 10:00 Deidra White Course description forthcoming. |
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| ENG 207 003 BEG WKSHP CRTV WRT: Fiction MWF 9:00 Nicholas Ruma Course description forthcoming. |
 ENG 230 001 INTRO TO LIT: Reading DangerouslyTR 2:00 Michelle Sizemore In 2022, book bans reached a record high -- but reading has long been considered a dangerous activity in America. This class will investigate various prohibitions against reading since the nineteenth century, beginning with the denial of literacy to enslaved people and the forbidding of fiction to middle-class white women and continuing with the censorship of texts today. Throughout the semester, we will ask what it means to "read dangerously" and discover answers in stories of hope, courage, joy, and resilience. For reading dangerously involves enormous risks and rewards -- in not only defying restrictions but also ensuring the full expression of our humanity. To be clear, this is not a "banned books course" but rather an exploration of reading communities, practices, genres, and representations that threaten the status quo. Works may include Hannah Webster Foster's The Coquette (1798), Julia Collins' The Curse of Class; or, The Slave Bride (1865), Mark Twain's Huckleberry Finn (1884), Charles Chesnutt's The Marrow of Tradition (1901), Madeline Miller's The Song of Achilles (2011), Britt Bennett's The Vanishing Half (2020), Matt Haig's The Midnight Library (2020), Alison Stine's Trashlands (2021), and Gabrielle Zevin's Tomorrow and Tomorrow and Tomorrow (2022). UK Core: Inquiry in the Humanities |
 ENG 230 002 INTRO TO LIT: Literature and MoneyMWF 10:00 Michael Genovese In this course we will explore literature that obsesses over economic concerns such as production and consumption, money and goods, hoarding and spending. The last few years have reminded us of the economic power of irrational exuberance, and the painful fall that follows it. But our financial enthusiasm is not just about greed; money sparks the imagination, setting it in motion toward all sorts of goals. Yet rarely do we pause to consider the cultural complexity that allows us to trade pieces of paper for a cup of coffee, or use a plastic card to decorate a room. Economic models may explain this behavior to us with graphs and equations, but we experience these transactions much more immediately and respond to them passionately. A sofa, a poster, a new television all come to us through money, but they appeal to us because of what we imagine they can offer once we get them home. We write our own narratives of money every day, and the study of literature offers an opportunity to reflect upon the role of the imagination in economic life. Money asks us to trust its promise of value, and novels, poems, and dramas do the same when they ask us to embrace their fictions. Someone hands us a check for $100, and we gleefully envision how that paper might become a night on the town, a new piece of furniture, or the latest software. In a similar way, literature works on our imaginations to construct worlds out of paper. We never actually meet fictional characters or go where they go, but we feel that we know them and travel alongside them as we read a novel or poem. In this course, we will explore the fantasies that authors specifically build around the pursuit and use of money, and the economic harshness they often reveal. Studying works from the Renaissance to the modernist period, we will try to identify what role literature has played in shaping our economic imagination. This seminar won’t make us better at budgeting, but by the end of the semester we will have a better understanding of the narratives we write around every dollar earned and spent. UK Core: Inquiry in the Humanities |
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 ENG 230 007 INTRO TO LIT: Literature and LaborSection 007 TR 9:30 Section 008TR 12:30 Martin Jensen If Martians could watch Netflix, they would surely conclude that humans spend far more time having sex than working. Unfortunately, that is not true. This course explores why labor—that thing we must do all day—often seems to disappear from our stories. We will read poetry, short stories, and novels that ask what work is and who the worker is, and we will study how these texts attempt to portray, explain and critique work. The course will introduce you to the analysis of literary form as we cover the stylistic modes through which literature has represented labor from the nineteenth century to the present. We pay particular attention to modes such as comedy, tragedy, and realism. Readings include texts by Rebecca Harding Davis, Herman Melville, Langston Hughes, Tillie Olsen, Lucia Berlin, Philip Levine and others. UK Core: Inquiry in the Humanities |
 ENG 241 001 SURVEY OF BRITISH LITERATURE ITR 12:30 PM Joyce MacDonald English 241 is a survey of the development of British (not just “English”) literature from its beginnings through the early seventeenth century. Obviously, we will not be able to cover all literary developments in a period of more than a thousand years in equal depth. Instead, the course will have four major goals: 1)To give students an overview of the major modes of writing, significant texts, and important authors in the English language over this long period; 2) To trace a history of the development of the English language over time; 3) To help students build a critical vocabulary for discussing and analyzing pre-modern literature; 4)To introduce students to important research tools for studying and writing about literature. ENG 241 counts toward the survey requirement for the English major and may fulfill other requirements for other majors in and out of Arts and Sciences. |
 ENG 251 001 SURVEY OF AMERICAN LITERATURE ITR 2:00 PM Jeff Clymer This course is an immersion in the literature of the United States before the Civil War. We will read a diverse array of famous and currently lesser-known significant authors, in a variety of genres (novel, short story, essay, poetry), as we seek to understand their works both formally and historically within an American culture defined by rapid economic change, slavery, and debates over women’s rights. The last several weeks of the term will be devoted to the stunning outpouring of work produced by American writers, including Hawthorne, Melville, Dickinson, Douglass, Jacobs, Poe, and Stowe, in the middle decades of the nineteenth century. Grade will be determined by a combination of short essays and in-class exams. |
 ENG 260 INTRO TO BLACK WRITERSSection 201 TR 12:30 Online synchronous Section 202 TR 3:30 Online synchronous B Bailey This course will focus on formative texts from black authors in the last 70 years including works by Toni Morrison, Octavia Butler, Tananarive Due, and more. We discuss how these works fit into the genre as well as question why the genre becomes the mode to expression for so many seminal authors. UK Core: Intellectual Inquiry in the Humanities |
 ENG 280 001-004 INTRO TO FILMMW 1:00, F varies Jordan Brower Course description forthcoming. UK Core: Inquiry in the Humanities |
| ENG 280 005 INTRO TO FILM MWF 11:00 Frederick Bengtsson Course description forthcoming. UK Core: Inquiry in the Humanities |
| ENG 280 006 INTRO TO FILM MWF 12:00 Jordan Brower Course description forthcoming. UK Core: Inquiry in the Humanities |
| ENG 280 007 INTRO TO FILM MWF 10:00, Mondays online synchronous Alan Nadel Course description forthcoming. UK Core: Inquiry in the Humanities |
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 ENG 307 002 SPECIAL TOPICS IN CREATIVE WRITING: Flash FictionMWF 1:00 Michael Carter In this insta-world of blogs, Twitter, Snap, and all the other short-form social media, what is the place of literature, of art? In this course, we will take up the banner of written art in these shortened forms and bring it to life as well. Whether you are an English Major, a creative writer, or a pre-med student, you have stories to tell, stories to discover, and you will, in this class, create these stories as short, short fiction and as possibly some short plays to tell these stories. These forms will challenge our word play and our ability to see the atom in the sun, the period at the end of a sentence, and the dark at the end of the tunnel. We will work to eliminate all but the play’s or short fiction's center and make it huge. By the end of the semester, we will have a sheaf of our own and others' writing ... our harvest of words, stories, and their telling about ourselves. |
 ENG 330 002 TEXT AND CONTEXT: Faulkner's Absalom, Absalom!TR 12:30 Jeff Clymer This section of ENG 330 centers on William Faulkner’s 1936 novel, Absalom, Absalom!, which many readers consider to be his most challenging and fascinating book. To get our bearings in Faulkner’s experimental prose style and deep historical knowledge, we shall also read some additional Faulkner texts (likely As I Lay Dying and Go Down, Moses), as well as a few nonfictional sources about the Depression-era South in which Faulkner wrote. The second half of the course will focus on novels by Toni Morrison and Jesmyn Ward, two powerful contemporary Black women authors who have framed at least some portion of their writing as a direct response and challenge to Faulkner’s fiction. Students will benefit from responding to the challenge inherent in reading and thinking deeply about difficult and resonant literary works that address fundamental and ongoing aspects of American history and identity from the standpoint of fiction. |
 ENG 330 003 TEXT AND CONTEXT: Caesar and CleopatraTR 2:00 Joyce MacDonald History, myth, and poetry come together in Renaissance descriptions of Julius Caesar and Cleopatra, Queen of Egypt. As the leader of Rome, Caesar absorbed Egypt into the empire. As queen of a country whose civilization far predated that of Rome, Cleopatra struggled to maintain Egypt’s sovereignty even under Roman authority. Imperial partners, allies, and eventually lovers, their intertwined stories fascinated and scandalized writers from the ancient world through the seventeenth century. In this section of ENG 330, we’ll read examples of those texts, beginning with the Greek historian Plutarch and ending with the Renaissance playwrights who mined their story for their own compelling accounts of love, sex, race, and empire: Shakespeare, Elizabeth Cary, and John Dryden. |
 ENG 330 004 TEXT AND CONTEXT: Joyce's UlyssesMWF 10:00 Jonathan Allison A course on the great modernist novel, James Joyce’s Ulysses (1922), explored in the context of various works which inspired Joyce as he conceived the novel, including Homer’s The Odyssey and Shakespeare’s Hamlet. Joyce claimed he took the idea of interior monologue - developed into a fully-fledged stream of consciousness technique – from Edouard Dujardin’s novel, Les Lauriers Sonts Coupés (translated as We’ll to the Woods No More). Don Gifford’s useful Ulysses Annotated will help us appreciate the range of reference and allusion. Other contexts include biographical, historical, and political backgrounds, and supplementary readings will be provided. We’ll also think about the critical reception of the novel, how it was read (and censored) over the years, how it plays a crucial role in the history of modernism, and how it may have influenced later writers. |
 ENG 337 001 LIT & GENRE: Science FictionMWF 12:00 Matt Godbey At its core, science fiction is a genre that, from its inception, has told stories about the adventures and perils of technological change. And it’s constantly evolving: Whether in fiction or film, the genre addresses myriad concerns common to life in a technological culture, focusing on an ever-widening range of science fictional concerns, not just the familiar subjects of space travel, robots, etc. Our course this semester will explore Science Fiction in all its breadth and diversity by drawing from varied examples of the genre that help us explore and make sense of technology’s impact. |
| ENG 338 002 TOPICS IN LIT: Reading Dangerously TR 3:30 Michelle Sizemore In 2022, book bans reached a record high -- but reading has long been considered a dangerous activity in America. This class will investigate various prohibitions against reading since the nineteenth century, beginning with the denial of literacy to enslaved people and the forbidding of fiction to middle-class white women and continuing with the censorship of texts today. Throughout the semester, we will ask what it means to "read dangerously" and discover answers in stories of hope, courage, joy, and resilience.For reading dangerously involves enormous risks and rewards -- in not only defying restrictions but also ensuring the full expression of our humanity.To be clear, this is not a "banned books course" but rather an exploration of reading communities, practices, genres, and representations that threaten the status quo.Works may include Hannah Webster Foster's The Coquette (1798), Julia Collins' The Curse of Class; or, The Slave Bride (1865),Mark Twain's Huckleberry Finn (1884), Charles Chesnutt's The Marrow of Tradition (1901),Madeline Miller's The Song of Achilles (2011),Britt Bennett's The Vanishing Half (2020),Matt Haig's The Midnight Library (2020), Alison Stine's Trashlands (2021), and Gabrielle Zevin's Tomorrow and Tomorrow and Tomorrow (2022). |
 ENG 339 001 AUTHOR STUDIES: Amiri Baraka's Many LivesMW 3:00 Geronimo Sarmiento Cruz From the Beats to the Army, from the Black Mountain poets to the Black Arts Movement, from the New York School of poets to Third World Marxism, Amiri Baraka’s life comprises many different stages. Or he lived many different lives—something perhaps best exemplified by his name change from his birth-given LeRoi Jones to his chosen, politically driven Amiri Baraka. He was an eclectic writer and thinker who adopted many perspectives to reconcile his aesthetic and political allegiances. His links with some of the most relevant poetry circles of the second half of the twentieth century in the US position him as one of the most relevant contemporary writers of this country. Although his relevance is sometimes unacknowledged, partly due to his radical politics, this course will settle the score by reading Baraka’s poetry, nonfiction, fiction, and drama as evidence of the many perspectives he adopted during his life in order to develop and contextualize his importance in US literature. |
 ENG 353 001 AMERICAN LIT AND CULTURES POST-1900TR 11:00 Michael Trask This course will combine reading some of the greatest detective novels of the 20th century with viewing their often magnificent screen adaptations. The first half of the semester will be spent on Double Indemnity by James M. Cain; The Talented Mr. Ripley by Patricia Highsmith; LA Confidential by James Ellroy; The Long Goodbye by Raymond Chandler; Devil in a Blue Dress by Walter Moseley; Laura by Vera Caspary. The second half will be spent on the film versions of each of these books. Our guiding question will concern what changes between the printed page and the screen version of a text, alongside the question of how genre (hardboiled fiction, film noir, the period film, the historical novel) influences and shapes narrative. We’ll also ponder throughout the class the question of whether the films or novels or both together can be said to constitute a discrete genre, and, if so, what that genre itself might tell us about 20th-century American culture. |
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 ENG 395 003 INDEPENDENT WORK: Old English Reading GroupW 1:00 - 1:50 (1 credit hour) Matt Giancarlo A weekly one-hour reading group for a basic introduction to Old English grammar and reading. Readings will include basic prose and some poetry. All textbooks optional; readings will be done via online texts and handouts. Grades based on attendance, participation, and one final simple open-book translation exercise. 1 credit-hour. Meets Wednesdays, 1:00-1:50 pm., location TBD. Open to Graduates via ENG 780-005 Directed Studies, and to Undergraduates via ENG 395 Independent Work. Contact the Instructor, Dr. Giancarlo, for direct enrollment: matthew.giancarlo@uky.edu. |
| ENG 407 001 INTERMEDIATE WORKSHOP IN CREATIVE WRITING: Flash Fiction MWF 1:00 Michael Carter Meets with ENG 307-002. In this insta-world of blogs, Twitter, Snap, and all the other short-form social media, what is the place of literature, of art? In this course, we will take up the banner of written art in these shortened forms and bring it to life as well. Whether you are an English Major, a creative writer, or a pre-med student, you have stories to tell, stories to discover, and you will, in this class, create these stories as short, short fiction and as possibly some short plays to tell these stories. These forms will challenge our word play and our ability to see the atom in the sun, the period at the end of a sentence, and the dark at the end of the tunnel. We will work to eliminate all but the play’s or short fiction's center and make it huge. By the end of the semester, we will have a sheaf of our own and others' writing ... our harvest of words, stories, and their telling about ourselves. |
 ENG 407 002 INTERMEDIATE WORKSHOP IN CREATIVE WRITING: Personal & Storytelling EssaysTR 11:00 Hannah Pittard This is an intermediate essay writing workshop. Students enrolling in this course should be more or less familiar with the essay as a form. We will read, and we will write. The pace will fast and somewhat furious. Students will be asked to purchase a handful of books, which we will discuss as a group. In addition to weekly reading comprehension quizzes, students should expect to write several essays — some shorter than others — all of which will be responses to guided and class-assigned prompts. This is not a “write what you want” workshop. |
 ENG 425 001 ENVIRONMENTAL WRITINGMWF 11:00 Michael Carter Fiction, non-fiction, poetry, and many other artistic genres have taken us to task in our treatment of the environment we humans share with all life. Whether James Fenimore Cooper in The Pioneers showing the destruction in the town of Templeton of a flock of passenger pigeons to the disgust of Natty Bumppo, or John Muir telling about the grandeur of CA’s mountains (seeing it as nature untouched, not realizing the millennia of Indigenous Peoples who had “tended” their natural world), or Annie Dillard watching frogs leaping toward water, humans have admired “nature” often as an object -- not as part of the living organism that is our planet. This course will both examine nature as amazing life but more explicitly examine our effects on that life: animal and plant. We have always had voices countering these behaviors. We will read from a variety of environmental writers from 19th century’s Thoreau to 20th century’s Bill McKibben and Wendell Berry to Linda Hogan and other Native American voices that to this day confront the abasement of the environment whether of a wall being built through sensitive landscapes and habitats or of a pipeline moving oil sludge through sacred waterways and hills. As well as reading and researching, we will write, following our minds and eyes to a better understanding of humans’ effect on the natural world through their construction, extraction, and other actions to build “civilization.” |
 ENG 480G 001 STUDIES IN FILM: Theories of Film and MediaMWF 3:00 Jordan Brower Course description forthcoming. |
 ENG 495 001 MAJOR HONORS SEMINAR: Turtle Island Literature MW 4:30 Geronimo Sarmiento Cruz This course offers an introduction to the indigenous literatures and cultures of North America, encompassing a historical period from before the arrival of European colonizers to our present moment. We will read poetry, fiction, and nonfiction exploring themes of identity, justice, memory, and decolonization to learn from and understand different Native American perspectives on history and land. Following a chronological order, we will think about the conditions under which indigenous literature developed in this hemisphere, paying particular attention to oral traditions. We will consider the impacts and struggles that colonization entailed for Native populations, charting their histories of resistance. More importantly, we will consider the essential role that literature has played in these resistances as we reach the contemporary situation and challenges that indigenous communities face. |
 ENG 507 001 ADVANCED WORKSHOP IN CREATIVE WRITING: Poetry & Book ArtsM 3:00 Julia Johnson Course description forthcoming. |
 ENG 518 001 ADVANCED HISTORY OF ENGLISH LANGUAGEW 5:00 Matt Giancarlo This course explores the development of English from its roots in Indo- European, through Old, Middle, and Early Modern English(es), culminating with a review of the English languages of today. It focuses on the phonological, grammatical, and lexical changes of the language, as well as on the social contexts of the rise and spread of English as a contemporary world language. Special emphasis is given to a linguistically informed understanding of how the language has changed in response to political and historical pressures. Fulfills the ENG Early Period requirement. Provides ENG Major Elective Credit and ENG Minor credit. |
ENG 100 001 ORIENTATION TO THE ENGLISH MAJOR
ENG 130 LITERARY ENCOUNTERS: Spooky Literature 
ENG 142 001 GLOBAL SHAKESPEARE
ENG 290 INTRO TO WOMEN'S LIT
ENG 359 001 THE KENTUCKY LIT HERITAGE
ENG 384 001 LITERATURE AND FILM
