Courses for Fall 2011
ENGL 2541: SCREENWRITING WORKSHOP -- Dr. Margaret Cullen
1:30-1:45 TR Dukes 152
THIS WORKSHOP IS OPEN TO ALL ONU STUDENTS IN ALL DEPARTMENTS AND COLLEGES
This workshop explores screenwriting in all its various aspects: developing general creative writing skills; learning and/or developing specific skills for screenwriting itself; mastering technical details of screenplay formatting using free Celtex software; initiating ideas for screenplays; actually writing screenplays (if participants choose to write). We will also consider how to break into screenwriting as a profession.
To enhance our screenwriting experience, the group will study one major film and sections of others, and study screenwriting from a variety of perspectives.
Members of the workshop form a community of writers and reviewers of any original work developed in the workshop. Participants have a choice about if and when they write for the workshop. Generally most people contribute at least a few original scenes during the semester. However, everyone is welcome to simply participate in the activities and discussion each week.
The credit is variable. Those who participate in the Wednesday evening activities receive one credit for the course. If anyone wishes to earn credit by writing or related special projects, then they can make arrangements with Dr. C for up to 2 more credits.
People with all levels of interest and experience are welcome in this flexible, friendly creative environment.
Making a Good Script Great by Linda Seger
We will also have a course packet including idea from Robert McKee, Carl Iglesias, and others.
SPECIAL FALL OPPORTUNITY
All students in the workshop are eligible to travel with the group to Los Angeles in September for a wonderful screenwriting conference. Funding may be available for some English majors, and non-majors are responsible to finance their own travel.
ENGL 2741: American Multicultural Literature -- Dr. Robert Scott
11:00-11:50 M W F Dukes 112
The purpose of this course is to sharpen your personal response to multicultural fiction by teaching you to read with attentiveness and critical discernment. Through this course you will further develop and refine your critical and analytical reading skills, and your ability to write about fiction should therefore also improve. This class will also prepare you for advanced literary study by acquainting you with the narrative conventions used by all writers of fiction and by providing you with the critical vocabulary for interesting and adept analysis.
You will write two critical essays for this course. In addition to these essays, you will also take a midterm and final examination.
Ralph Ellison, “Battle Royal”
Toni Cade Bambara, “The Lesson”
Toni Morrison, The Bluest Eye
Leslie Marmon Silko, “Yellow Woman”
Sherman Alexie, “The Lone Ranger and Tonto Fistfight in Heaven”
Louise Erdrich, Love Medicine
Helena María Viramontes, “The Moths”
Junot Díaz, "How to Date a Browngirl, Whitegirl, or Halfie"
Julia Alvarez, How the García Girls Lost Their Accents
Gish Jen, “Who’s Irish?”
Amy Tan, “Two Kinds”
Chang-rae Lee, Native Speaker
Jhumpa Lahiri, The Namesake
Khaled Hosseini, The Kite Runner
ENGL 2921: Photojournalism -- Dr. Druann Bauer
2:00 – 2:50 M W F Dukes 151
This course will focus on the “art” of news photography, and cover basic instruction in the types of photography found in the news, as well as in magazines and journals--specifically sports coverage, feature shots, straight news, and advertising photos. We will begin with the basics. You do not need a camera—we provide it. No previous photography experience is required and you do not need to be a journalism major—just interested in enhancing your work with photography. Students will learn photography skills such as how to adjust for aperture and speed, then we will branch out and explore how to capture the “heart” of a scene, person, or moment. Shooting with identical digital cameras, photographers will explore their camera’s full potential, learning how to approach a subject from a variety of angles, work with lighting, choose the right perspective, blur a background (intentionally), and freeze a moment in time.
Class participants will be going to the scene of the action. You will find us at athletic events, in a graveyard, exploring beautiful scenery, and setting up promotional shots for area businesses.
Photographers will then take their shots into a lab and work with Adobe PhotoShop. We will cover PhotoShop basics, such as cropping and color and tonal adjustments, then we will apply these skills to our photos.
This will be a very hands-on approach to teaching, with short lectures, followed by working with the students as they shoot. We will travel to locations, whether that be a sporting event or a photo shoot for an advertisement. Instruction will also include guest lectures from experts in the field of photography.
Each student will compile a hardcover portfolio of their work. Each portfolio will be critiqued in writing, which will include suggestions on areas that need to be further developed.
There is a lab fee associated with this class that covers printer ink, memory cards, and photo paper. Students will be responsible for purchasing one textbook and an expandable portfolio for their photos. Class size: 15 max.
ENGL 3221: Restoration and 18th Century British Literature -- Dr. Druann Bauer
3-3:50 MWF Dukes 152
We will be reading poetry (a very little bit), drama, fiction, and non-fiction that is distinctly 18th century British literature. What makes the 18th century so unique? Well, its uniqueness is largely due to its versatility. Changes were occurring…changes in attitudes, philosophy, poetry, the theater (women were now allowed to perform on stage), science became an organized “science” instead of a guessing game, and the “novel” was created. We also have poets roaming the graveyards focusing on death and decay, and one of our first feminists, Mary Wollstonecraft, waves a flag for equal rights.
Students will be given three exams. Other requirements include a research paper and a class presentation.
Texts: (see class for which editions to use)
Paradise Lost (1667) by John Milton—much of our literature refers to Satan and the fall of man. We will read select “books” from Milton’s work
The Country Wife (1675) by William Wycherley—this play represents the theater at its wildest, largely due to the rampant sexuality. The “china scene” is not to be missed.
Gulliver’s Travels (1726) by Jonathan Swift (also “A Modest Proposal”)—satire was at its height during the 18th century and these are the best examples of fine satirical writing.
Fanny Hill (1748) by John Cleland—once called “an open insult upon religion and good manners” this story of a prostitute’s rise to respectability is not only funny but filled with revolutionary thought.
Who’s the Dupe? (1779) by Hannah Cowley—This two-act play pokes fun at men, specifically, how easy they are to dupe (fool). But on a serious note it also uncovers the flaws in the 18th century’s marriage market, where women are traded like a commodity.
A Vindication of the Rights of Woman (1792) by Mary Wollstonecraft—a reply to Thomas Paine’s The Rights of Man, Wollstonecraft argues that women also deserve equality and can achieve it through education.
Pride and Prejudice (1813) by Jane Austen—a classic Austen text, and although not written in the 18th century, the conditions reflected in the book mirror that time period.
Handouts will include non-fiction pieces and poetry.
ENGL 3341: PRE-1865 AMERICAN LITERATURE -- Dr. Margaret Cullen
1:30-1:45 TR Dukes 152
“NEVERMORE”: The Writing, Era, and Legacy of Edgar Alan Poe
This course will explore the writing of Edgar Alan Poe in the context of his work, his fascinating historical era, and his legacy. He pioneered the concept of the short story; wrote the first work of American theoretical criticism; helped develop the horror and detective genres; provided an early critique of the dangers of science—and wrote a classic poem, “The Raven.”
Poe’s influence has spread from his times to the present. Simply enter “The Raven” into Youtube, or Google the title, to see how many versions of that (and other) works of Poe are still alive in the contemporary imagination worldwide.
The Complete Works of Edgar Alan Poe
A course packet with related primary and critical materials, including some more contemporary work influence by Poe.
This class is discussion based with a midterm, a final, two close readings, and a literary research paper. An extra credit assignment in creative writing is also available.