English

ENG 105. College Writing Seminar (Staff)
A focus on writing as a tool for learning and communicating. Students will develop critical thinking skills, productive writing habits, and a style appropriate for college-level writing. Several short papers and one longer paper are taken through stages of the writing process. Instructional formats include class discussion, workshop sessions, and individual conferences. A sequence of library assignments introduces students to the use of Beeghly Library and online resources as an integral part of the liberal arts education. F, S.

ENG 120. Introduction to Poetry Writing (Caplan)
The goal of this class is deceptively simple. We will learn how to write better poetry. We will write poems, read poems, and discuss poems, all with this goal in mind. This class is an introduction to the art of poetry composition; the only requirement is an interest in poetry. F.

ENG 145. Reading [a text or texts] (Comorau, Caplan, Ryan, Allison)
A course designed to help students develop their reading skills. Students will read and analyze texts, consider their conventions and contexts, and practice various strategies to respond to and interpret them. The course content will vary, but all instructors will emphasize reading strategies that can be adapted to any text or reading assignment. F, S. (Group III)

  • Reading the Global Kitchen (Comorau), F.
  • Reading H. Auden and T.S. Eliot (Caplan), F.
  • Reading Short Fiction by Black Writers (Ryan), S.
  • Reading the Classic British Novel (Allison), S.

ENG 150. Introduction to Literary Study. Required of all majors and minors. (Butcher, Carpenter, Long, Poremski)
A course to help students appreciate and understand the conventions of fiction, poetry, drama, and the essay. It raises fundamental questions about the nature of literature. Although works and approaches vary with the instructor, the emphasis of this course remains the same: it focuses on close reading and analysis to develop students’ critical skills and to enrich their emotional and intellectual experience of literary texts. F, S. (Group III)

ENG 176. Alternative Worlds in British and American Literature (DeMarco, Long)
A variable content course that explores alternative literary worlds and modes of discourse. Although reading lists vary, all sections address the power of language to represent alternative realities— alternative either to perceived reality or to reality as represented in another medium. (Group III)

  • Alternative Worlds in Shakespeare (Long), F.
  • Vengeance (DeMarco), S.
  • Comedy and Satire (Musser), S.

ENG 180. Narratives (1): The Short Story (0.5 unit; Butcher)
This course focuses on the form of the short story and the primal pleasure of storytelling. S.

ENG 182. Narratives (2): Longer Forms (Novella, Novel) (0.5 unit; Butcher)
This course focuses on longer narrative forms, particularly the novella, with special attention to the strategies and demands of an extended narrative. S.

ENG 224. African American Images (Ryan)
This course examines both literature and film, focusing on the representation of African Americans, and the artistic and sociocultural functions of those representations. Possible topics include: “Images of Black Women in Fiction and Film,” “Figures in Black,” “Black Women Film Makers.” Also listed as BWS 224. (Group III, Diversity)

ENG 226. American Images (Caplan, Carpenter, Poremski)
A survey of selected poets, novelists, essayists, and filmmakers from the breadth of traditions and counter-traditions in American literature. Works will be read to reveal how “America” has been imagined and to shed light on the question of what it means to be an “American.” (Group III)

ENG 228. British Images (Allison, Comorau)
A survey of selected poetry, fiction, prose, drama, or film from across the spectrum of British literature. This course will probe the diversity of traditions and counter-traditions in British literature, reading selected texts against the appropriate contexts and backgrounds. Reading and course content will vary by instructor. (Group III)

  • Re-Placing Great Britain (Comorau), S.

ENG 254. Introduction to Film (Carpenter, Hipsky)
A critical and historical approach to film. The course provides an overview of the development of filmmaking and a survey of representative film genres, directors, and international film movements. S. (Group IV)

ENG 260. Writing Essays (Allison, Butcher)
A course on the process of writing and revising non-fiction essays, concentrating primarily on improving organizational skills, developing style, and accommodating readers. Students will write different kinds of non-fiction essays and will read and analyze essays by professional writers. It is strongly recommended that students complete ENG 150 before enrolling in ENG 260. F, S.

ENG 265. Elements of Style and Rhetoric (Butcher, Staff)
A course in non-fiction writing suitable for majors in all fields. The course focuses on learning to manipulate voice and rhetorical stance by considering the variables of speaker, subject, audience, purpose. Students should expect to do some writing either in class or at home for every class meeting. These short experiments will focus on a range of modes, from parody to propaganda, and from self-expression to communication, as well as on a range of voices, from informal to formal. S.

ENG 266. Women’s Literature in English (Butcher, Carpenter, Comorau, DeMarco)
This course features works that focus on questions of feminine identity, or works by women writers, inquiring into a variety of experiences that cut across lines of class, race, age, and sexual orientation. Texts and approaches will vary with the instructor. Serves as a Women’s and Gender Studies core course. F, S. (Group III)

  • Contemporary Wild Women (Butcher), S.

ENG 268. Black Women’s Literary Traditions (Ryan)
Examines a variety of texts by Black women writers such as Zora Neale Hurston, Gwendolyn Brooks, Toni Morrison, Ntozake Shange, Alice Walker, and Jamaica Kincaid. Explores the ways in which Black feminist critical methodologies have been important to the recovery and interpretation of Black women’s texts. Possible topics include: Black Feminist Readings of Visual Text, Black Women’s Literature and Spirituality, and Twentieth-Century Black Women Writers. Also listed as BWS 268. S. (Group III, Diversity)

ENG 273. Approaches to African American Literature (Ryan)
Variable course focusing on a critical movement (such as The Harlem Renaissance or The Black Arts Movement) or a prominent figure (such as Richard Wright, James Baldwin or Toni Morrison) in the African American literary tradition. Also listed as BWS 273. (Group III, Diversity)

ENG 278. Native American Literature (Poremski)
This course will introduce students to the rich variety of literary expression by Native Americans. Based on the assumption that Native American (or American Indian) literature must inform our discussion of just what American literature means, it will address questions common to other literature classes, yet asked with a different resonance. The course will bring to students’ attention in at least some specificity the tribal affiliations of the authors presented, and will introduce students to resources for learning more about Native American literature, culture, and history. F. (Group III, Diversity)

ENG 310. Writing for the Workplace (Burns, Poremski)
In this course, students learn to write the kinds of letters, memoranda, and reports most common in the workplace. They sharpen their writing style and their revising and editing skills. They learn to appeal to business and professional audiences while seeking to achieve specific purposes. Because employers expect the use of Edited American English (Standard English) and professional-quality page layout, this course teaches and enforces high standards of style, mechanics, and graphic design. Since oral communication skills are vital in the workplace, this course requires students to make both formal and informal oral presentations. F, S.

ENG 314. Writing Fiction (Carpenter, Olmstead)
This workshop is for those who wish to study narrative technique and to express themselves in short fiction. Students study fiction and write technical exercises, critical analyses, and one or two revised and complete short stories to be discussed by the workshop. F, S.

ENG 315. Writing Nonfiction (Butcher)
This workshop helps juniors and seniors who want to continue developing their nonfiction writing style(s). Students will write numerous essays in various nonfiction modes, comment on their peers’ work, and revise their own essays. Prerequisites: One from ENG 260, ENG 265, ENG 310, ENG 312, ENG 314, or ENG 316.

ENG 316. Writing Poetry (Caplan)
The workshop consists of lecture and discussion, study of the work of established poets, and group discussion of student work. Students write exercises in verse technique and critical analyses of poetry, and complete a group of revised and polished original poems. S.

ENG 318. Playwriting (Gardner)
In this workshop in script development the student is guided by readings of plays and a drama handbook, written exercises, and revisions to complete a one-act play. Prerequisite: ENG 105 and one college theatre or creative writing course. Also listed as THEA (Group IV)

ENG 319. Screenwriting (Olmstead)
Designed to introduce the student to screenplay form and technique, this workshop moves from readings through written exercises to a completed dramatic script of about thirty minutes in length. F.

ENG 330. Studies in Medieval Literature (DeMarco)
An investigation of literary works written during the Middle Ages (600–1550) through the lens of a specific theme, genre; cultural, political, or intellectual trend; and/or literary antecedents and afterlives. Possible topics may include “The Quest Narrative,” “Twice-told tales: Re-reading the Classics in Medieval English Literature,” and “Middle English Romance.” (Group III)

ENG 334. Chaucer and his Contemporaries (DeMarco)
A survey of the wide range of Chaucer’s writings: selections may be drawn from Chaucer’s early lyric poetry, to his short stories known collectively as the Canterbury Tales, to his dream visions, to his novel-like romance, Troilus and Criseyde. To better appreciate Chaucer’s debt to tradition and his creative innovations, students will also read literature written by Chaucer’s contemporaries; selections will vary. (Group III)

ENG 336. Studies in Shakespeare (Long)
A survey of Shakespeare’s plays and/or poems through the lens of a specific theme. Readings will sample a range of the genres in which Shakespeare wrote (comedy, tragedy, history, romance, lyric and narrative poetry) and span the breadth of Shakespeare’s career. Whenever practicable the plays read will be viewed in performance or on film. Possible topics include: “Shakespeare on Love,” “Shakespeare and Religion,” “Shakespearean Cross-Cultural Encounters,” “Shakespeare and Trauma,” and “Shakespeare on Film.” Students will read different plays in ENG 336 than in ENG. (Group III)

ENG 338. Shakespeare: This Great Stage (Long)
An investigation of the theatrical world of Shakespeare and his contemporaries. Readings will include representative works by Shakespeare and other playwrights from major genres associated with the Renaissance stage: e.g., revenge tragedy, city comedy, history play, and tragicomedy and romance. Whenever possible, the plays read will be viewed in performance or on film. Students will read different plays in ENG 338 than in ENG 336. (Group III)

ENG 340. The Renaissance Author (Long)
This course uses Renaissance poetic theory and practice as a framework for studying major works of sixteenth- and seventeenth-century English literature. Among the contexts to be considered are humanism, classicism, court culture, theology, gender ideology, and print culture. Authors studied may include More, Shakespeare, Marlowe, the Sidneys, Spenser, Wroth, Jonson, Donne, Herbert, Herrick, Marvell, and Milton. (Group III)

ENG 342. Drama and Theatre to 1700 (Long)
A survey of European drama from the Greek theatre of Classical Athens to the neoclassical theatre of seventeenth-century France. The course serves theatrical as well as literary interests, with careful study of the relationship of each period of the drama to the society it played to, the theatre it played in, and to the literary figures and styles that influenced it. Also listed as THEA 351. S. (Group III)

ENG 344. Drama, 1700-1900: The Development of “Realism” (Long)
Beginning with a review of the stock character types in the theatre of antiquity and Commedia dell’ Arte, the class will trace the evolution of more nearly “realistic” characters, sets, special effects, lighting, and stage designs, until we encounter a revolt against them in modern theatre. Masterpieces of English drama and concurrent European plays will be examined as acting scripts, not only as literary masterpieces. Social and cultural conditions will also be considered as students read Shakespeare, Wycherley, Sheridan, Molière, Racine, Büchner, Chekhov, Ibsen, and Pirandello. Also listed as THEA 361. (Group III)

ENG 346. Studies in Eighteenth-Century Literature and Culture (Allison, Comorau, Long)
An investigation of literary works written during the long eighteenth century (1660–1800) through the lens of a specific theme. Depending upon instructor expertise, this course may stress particular genres; cultural, political, or intellectual trends; and/or literary antecedents and afterlives. Possible topics may include “The Rise of the Novel: Creating Desire in the Eighteenth Century,” “Drama and Theatre in the Long Eighteenth Century,” “The Age of Reason or the Age of Sentiment?” and “The Eighteenth Century Novel and Empire,” among others. (Group III)

ENG 348. The British Romantics (Allison)
This course explores one of the richest periods of literature in world history. The Romantic age (c. 1789–1830) produced extraordinary poets (Wordsworth, Keats), path-breaking novelists (Austen, Mary Shelley), and fascinating eccentrics. In less than fifty years, they revolutionized British literature and gave us the contemporary meaning of such keywords as “imagination,” “artist,” and “literature.” Reading widely, we will explore Romanticism’s roots in the eighteenth century; theories of poetry, beauty, and artistic inspiration; and the relationship of Romanticism to revolution, religion, and war. F. (Group III)

ENG 350. The Victorians (Allison)
The Victorian period (c. 1830–1901) was a time of unprecedented change. Revolutionary developments in technology, politics, and everyday life catapulted Britain into a position of global supremacy. In this course, we will read widely in the extraordinary literature that arose in response to these transformations. Texts will include fiction by Dickens, Stevenson, and Eliot; poetry by Tennyson and the Brownings; and drama by Wilde and Shaw. S. (Group III)

ENG 352. Modern British Literature (Hipsky)
Studies in the major literature of British, Irish, and London-based writers of the period 1900-1940. The course will be centrally concerned with the stages of a developing modernism: the feminist, realist, and impressionist fiction-writers of the Edwardian period; the Imagist and Vorticist avant-gardes of the 1910s; the flowering of “High Modernism” in the 1920s; the social satire of the politicized 1930s. Writers may include Joseph Conrad, D., Lawrence, James Joyce, Virginia Woolf, W. B. Yeats, and T. S. Eliot. S. (Group III)

ENG 354. Contemporary British Literature (Comorau)
Studies in British fiction, drama, poetry, and film from 1940 to the present, a time period characterized by changing understandings of gender and sexuality, unprecedented levels of immigration to the United Kingdom, and anxieties over Britain’s crumbling empire, all of which led to conflicting notions of British identity. Writers may include Salman Rushdie, Samuel Beckett, Tom Stoppard, Dylan Thomas, Seamus Heaney, A.S. Byatt, Carol Anne Duffy, Jackie Kay, and Jeanette Winterson. F. (Group III)

ENG 360. Early American Literature (Poremski)
Studies in American Literature from the beginnings to the nineteenth century. May include not only the traditionally studied works of the Puritans and eighteenth-century non-fiction writers, but also popular works such as narratives of Indian captivity, Gothic tales, and narratives of seduction. F. (Group III)

ENG 362. Nineteenth-Century American Literature (Poremski)
Studies in American literature from post-Revolutionary times through the Civil War to the turn of the century. May include not only the traditionally studied works of the American Romantics, Transcendentalists, realists, and naturalists, but also slave narratives, the sentimental novel, local color writing, and other popular forms of writing. F. (Group III)

ENG 369. Genre Studies in African American Literature (Ryan)
Variable course focusing on a specific genre—narrative, poetry, novel, drama, essay—within African American literary tradition. The course will examine both literary and sociopolitical factors that have influenced the development of the specific genre. Course content will vary. Possible topics include: “Redefining Slave Narrative” and “Contemporary Black Drama.” Also listed as BWS. (Group III, Diversity)

ENG 372. Modern American Literature (Caplan)
Studies in American literature from the early twentieth century to World War II. Focusing on selected poets and/or novelists, this course will examine American modernist literature, with attention given to innovations in literary form and cultural critique. (Group III)

ENG 374. Contemporary American Literature (Caplan)
Studies in American literature since World War II. Focusing on selected poets and/or novelists, this course will explore the formal and cultural diversity of contemporary American writing. (Group III)

ENG 380. Critical Methods: Literary Criticism and Cultural Theory (Allison)
This course provides an introduction to the modes of critical analysis that revolutionized the study of literature and culture in the twentieth century. The interpretative methods we will examine include formalism, historicism, feminism, and poststructuralism. In the final weeks of the class, we will turn our attention to several contemporary and emerging theoretical paradigms. Some of the readings for this class will be exceptionally challenging. But the payoff is a richer set of categories with which to interpret literature, culture, and life. (Group III)

ENG 391. Issues in English Linguistics (DeMarco)
In this course students will be exposed to various ways of analyzing the structure of the English language, and will explore the interplay of language and social identity as it is shaped by gender, race, class and regionality (e.g., dialects). The course also addresses issues such as how the English language has changed over time, how children acquire language, and how language use defines what it means to be human.

ENG 395. History of the English Language (DeMarco)
English has one of the richest recorded histories of any language, and this course examines the development of the English language from its earliest origins in Anglo-Saxon England (AD 450) to its contemporary state in places as geographically disparate as Ireland and India. English will be examined in respect to its internal history, and students will learn to read English in its earliest forms: the Old English of the epic author of Beowulf, the Middle English of Chaucer’s day, and the Early Modern English written during the Renaissance by poets such as Shakespeare and Milton. F.

ENG 410. The Portfolio (0.25 units). Required of all majors and minors. (Ryan)
Only second-semester seniors may enroll. Students will collect representative work from all their English courses (essays, essay examinations, etc.), write an introductory essay summarizing their experiences as majors or minors, and produce a curriculum vitae or resume. Designed to help students make the transition from college to further study or the world of work. This course is graded on a satisfactory/no entry basis. S. (Group III)

ENG 415. Special Topics in Literature and Language (Staff)
A variable content course that will address significant issues in literature not encompassed by other courses. Examples: comparing works normally separated by traditional boundaries (national, historical, generic); concentrated study in a particular genre or author; concentrated study of a particular literary movement or historical development; the history of criticism; the history of English prose style.

ENG 480. Advanced Creative Writing Workshop (Caplan, Olmstead)
The capstone creative writing course, this workshop is for students who have successfully completed two of the five genre workshops: Writing Fiction (ENG 314), Writing Nonfiction (ENG 315), Writing Poetry (ENG 316), Playwriting (ENG 318), or Screenwriting (ENG 319) and wish to do advanced work in their chosen genre. Prerequisite: ENG 314, ENG 316, ENG 318, or ENG 319. S.

ENG 484. Seminar in British and Postcolonial Literature (Staff)
The content will vary. The seminar will focus on a major British author (or authors) or period, literary movement, literary critical question or position, or literary historical issue. Students will be expected to apply their critical reading skills in discussion and writing. F.

ENG 486. Seminar in American Literature (Hipsky)
The content will vary. The seminar will focus on a major American author (or authors) or period, literary movement, literary critical question or position, or literary historical issue. Students will be expected to apply their critical reading skills in discussion and writing. S.

ENG 490. Independent Study
Prerequisite for non-majors: one ENG course at the 200 level or above with a grade of B or higher. Regular courses may NOT be taken as Independent Studies.

ENG 491. Directed Readings
Prerequisite for non-majors: one ENG course at the 200 level or above with a grade of B or higher. Regular courses may NOT be taken as Directed Readings.

ENG 495. Apprenticeships
Individually arranged apprenticeships both on and off campus. The department views an apprenticeship or internship as an extension of the major, not as a substitute for a course. Students must apply in advance of the apprenticeship.

Non-fiction Writing
The student must apply to the English Department Chair with the support of a faculty supervisor. Opportunities have included Ohio Wesleyan’s Office of University Communications, Battelle Memorial Institute Laboratories, marketing firms and Ohio Magazine.

Film
The student must apply to the English Department Chair with the support of a faculty supervisor. Opportunities typically involve meaningful work with a film production company.

ENG 496. Editing Apprenticeship: The OWL (Carpenter, Caplan, Olmstead)
Two semesters of editorial work for one unit of academic credit. The student is involved in every aspect of publication, from soliciting submissions, through selection and editing of works, to publicity and sales. An English major or minor may apply for the apprenticeship to the faculty advisor in the spring term of the academic year preceding the apprenticeship. This course does not count toward the English major.