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  • ENG 220: History of the English Languag

    3.00 Credits
    University of New England

    This course examines the origins and changes in the grammar, sounds, and vocabulary of the English language from its beginnings to modern times. This includes tracking the historical development of and changes in pronunciation, grammatical structure, vocabulary, and spelling. In addition, the course traces contemporary dialectal distinctions and the role that these play in the identity of ourselves and of others.
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  • ENG 221: Justice

    3.00 Credits
    University of New England

    What is justice? How is justice represented in literature? How do works of literature connect with and illuminate contemporary questions of justice? These are some of the questions that will frame our readings as we explore how questions of law and justice are represented in literature. Readings will include texts by such authors as Shakespeare, Glaspell, Tolstoy, Dorfman and El Saadawi.
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  • ENG 222: Representing Old Age

    3.00 Credits
    University of New England

    What is the experience of growing old? This course will trace the varied representations of aging and old age in poetry and prose fiction from Ancient through to Contemporary literature. With some exceptions, our readings will be comprised of works written in English and will focus on an individual's response to his or her own aging and cultural attitudes towards the aged. How do the mind and body age differently? What is the relationship between gender and aging? Have our conceptions of old age changed in line with increased longevity? Is social status measured by social utility and what defines that?
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  • ENG 223: Survey of Women Literature

    3.00 Credits
    University of New England

    This course will survey women's writing from the Medieval and Renaissance periods through the twentieth century. It focuses loosely on the way women and perforce their writing are framed by patriarchal assumptions about women's inherent nature and her social roles and relationships. The imaginative literature, non-fiction prose, and contemporary criticism we will read move us through these assumptions and respond to the question of how women's writing redefines, both thematically and stylistically, how we understand the way women form their own communities and values. Rather than view "woman" as a monolithic category, however, we will discuss the ways women communities differ from one another and consider, too, how contemporary feminist criticism establishes another venue for women's self-definition
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  • ENG 225: Irish Literature and Culture

    3.00 Credits
    University of New England

    Rich in literary artists such as Goldsmith, Sheridan, Synge, Yeats, O'Casey, and Joyce the Emerald Isle has created a reawakened interest in fine arts, film, music, and dance. This course will augment intense study of Irish literature, both historical and contemporary, with background readings into the economic and social context from which the "Republic" has emerged.
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  • ENG 234: Topics in British Literature

    3.00 Credits
    University of New England

    This course will provide students the opportunity to explore a variety of introductory topics in literature. A description of the specific topic offered will be posted prior to the registration period. Summer 2009: Stealing Shakespeare Shakespeare is broadly celebrated for the originality of his imagination and yet, like all other playwrights of his time, he frequently "stole" characters and plotlines from previous literary works (in polite society this sort of thing is better known as ¿adaptation). And since the Renaissance, other playwrights and filmmakers have returned the favor: by stealing from him. In this course we will study both ends of the game: we will read some of the narratives that later appeared in one of Shakespeare's plays, and we will view several films that adapted Shakespearean characters for different dramatic ends. There are three course units: (1) "High School Drama" examines what happens when a director translates one of the plays into the language of teenaged angst; (2) "Tragedies in the Global Imagination" samples three prominent international filmmakers (from Japan, Russia and India) and examines how they have reworked some of the high tragedies; and (3) "American Terrains," which shows us how Shakespeare's plays look when they are reshaped for a distinctly American landscape, such as the Wild West. Members of the class will also attend a live performance of The Taming of the Shrew in downtown Portland's free "Shakespeare in the Park," produced by the Fenix Theatre Company. Fall 2009: British Children's Literature When did a child become a Child? Who was the Harry Potter of the Victorian Age? Why did Peter Pan not want to grow up? This course focuses on nineteenth century literature both about and for children. We will begin by defining the Romantic child through Rousseau's pedagogical book Emile and Wordsworth's poetry, then divide the course into the main genres of children's literature in the 1800s: moral lessons of the early century, fantasy worlds of the Golden Age of children's literature, school stories, adventure tales, and the nostalgic stories of the early 20th century. We will address questions of how our understanding of childhood developed in the nineteenth century, when children became a market for commercial interests, and how the literature contributed to the gendered socialization of good girls and imperial boys. Fall 2010: Arthurian Legend This course focuses on the various historical and literary legends that have accumulated around the figure of King Arthur and other knights of the Round Table. We will cover a broad range of literary genres, including medieval romance, narrative poetry, and contemporary fiction. The course begins with T. H. White¿s "The Once and Future King", a work read widely among young adults, and then reach back to works of the medieval era, such as "Sir Gawain and the Green Knight" and Thomas Malory¿s "Morte d¿Arthur," to examine the origins of the these tales. The course then moves forward through several literary periods, covering works such as Alfred Lord Tennyson¿s "Idylls of the King", Mark Twain¿s "A Connecticut Yankee in King Arthur¿s Court," and a contemporary feminist revision of the tales in Marion Zimmer Bradley¿s "The Mists of Avalon". Each text balances a range of cultural values in a distinctive way, including the following: the codes of chivalry and masculine martial virtue; the conventions of courtly love; the tensions of sustaining Christian virtues within warrior culture; the fraught position of power occupied by women in Arthurian narrative; the allure and perils of magical knowledge; and the development of British national identity. Students will also have the opportunity research how the narratives of Arthur and his court have been adapted in visual and popular culture, including the lush paintings of the pre-Raphaelites; films such as "The Sword in the Stone," "Monty Python and the Holy Grail" and "The Fisher King"; the musical "Camelot"; or contemporary fantasy literature. The course is suitable for non-majors and will also introduce English majors to many of the writing and interpretive conventions they will find useful in subsequent literature courses.
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  • ENG 235: Topics in American Literature

    3.00 Credits
    University of New England

    This course will provide students the opportunity to explore a variety of introductory topics in literature. A description of the specific topic offered will be posted prior to the registration period. READING & FILM IN LATE 20TH CENTURY AMER LITERATURE: This course examines the condition of late 20th century literature and film. Selected readings and films will be analyzed and viewed. Careful viewing, reading and critical analysis is expected. In the Search of Freedom: This course explores the ways in which Writers of all sorts have written about freedom in American culture & history. Summer 2009 American Poetry: Focus will be on the way American poets have experienced America from Colonial timesto the present. While it has a broad sweep, the emphasis will be from Walt Whitman to contemporary poets. We will look at how an individual poem reflects the poet¿s being in particular cultural contexts, in terms of issues of race, gender, politics, and so forth:how this is reflected in a poem's content. Also, we will study content as it relates to a poem's form, its elements of craft, such as diction, metaphor, and over all structure. These two elements of the poem, content and form, and how they are expressive of living in America is the dominant theme of this course. In addition we will keep in mind the archetypal themes that transcend cultures. Fall 2009 American Poetry: Beginning with the pivotal voices of Dickinson and Whitman, this course examines the living traditions of American poetry. What did these 19th c. figures consider poetic, and how do later poets respond? How do poets employ traditional forms and reinvent these forms to embrace contemporary concerns? Through explication and analysis, we'll study how American poets express complex relationships: ones relationship to the nation, God, the natural world, art, war, love, and mortality. Summer 2010:Poetry and Popular Music : What does popular music - i.e., country, rock, folk, hip-hop, the blues and rap - which many people listen to on a daily basis, have to do with what has become accepted as typical poetry printed in books and which few read on a daily basis? What do Wyclef and Jay-Z have in common with Robert Frost and W.B. Yeats? This course will attempt to answer those questions through a study of lyric, whether written or sung, in terms of how the artist crafts it into dramatic form whose sounds tell the emotional story of the human soul. We will read and listen to the lyrics of older master poets and the young poets, older recording artists and todays stars, accessing the continuity of the poetic tradition and what makes for strong, enduring poetry. Fall 2010: American Poetry Focus will be on the way American poets have experienced America from Colonial timesto the present. While it has a broad sweep, the emphasis will be from Walt Whitman to contemporary poets. We will look at how an individual poem reflects the poet¿s being in particular cultural contexts, in terms of issues of race, gender, politics, and so forth:how this is reflected in a poem's content. Also, we will study content as it relates to a poem's form, its elements of craft, such as diction, metaphor, and over all structure. These two elements of the poem, content and form, and how they are expressive of living in America is the dominant of this course. In addition we will keep in mind the archetypal themes that transcend cultures.
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  • ENG 250: Directed Study in English

    1.00 - 12.00 Credits
    University of New England

    Course description unavailable
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  • ENG 299: Expl: English Topic

    3.00 Credits
    University of New England

    Course description unavailable
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  • ENG 300: Literary Topics

    3.00 Credits
    University of New England

    Examples of possible topics include the modern European novel, Shakespeare's tragedies and Renaissance drama, travel literature, and studies in narrative and intellectual history. A description of the topic offered will be posted prior to the registration period. SHAKESPEARE:In this course we will read some of Shakespeare's greatest plays, focusing on both their theatrical and poetic qualities. Texts will include plays such as King Lear, Hamlet, Macbeth, Twelfth Night, As You Like It, Henry IV, and Tempest. Nobel Prize Winners: The first Nobel Prize in literature was awarded in 1901, and since then more than one hundred authors have received this distinction. We shall examine poems, stories, plays, and novels by about ten of these authors, some early, others more recent, with an emphasis on works originally written in languages other than English. Authors selected might include such international figures as: Tagore, Hamsun, Undset, Mann, Hesse, Gide, Lagerkvist, Camus, Sholokhov, Andric, Neruda, Pasternak, Kawabata, Marquez, Mahfouz, Cela, Szymborska, and Grass, as well as writers in English such as Pinter, Coetzee, Naipaul, Heaney, Morrison, Walcott, Gordimer, Golding, Singer, Bellow, Beckett, Steinbeck, Hemingway, Faulkner, Eliot, O?Neill, Shaw, and Yeats. Summer 2009 Contemporary Poetry: This course will explore American poetry from WWII to the present. We will look at major poets who extend the romantic tradition and belief in man in nature, the value of reflection and the sense of self and those modern and post-modern poets who sought a break from tradition and questioned cultural, ethnic, and gender notions of selfhood. Additionally, we'll see how these two trends mix in today's poetry. We will study major poets from Robert Frost, Sylvia Plath through lyrics of contemporary poets, including Bob Dylan and other recording artists.
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