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Undergraduate Course Schedule Spring 2010
ENGL 1413.002, 004 CRITICAL ANALYSIS & WRITING II
CID: Various Various times, rooms, and instructors
Critical thinking, research, and writing skills necessary for success in courses across the curriculum. Some sections available for honors credit. May be substituted for 1213 for gifted writers who seek a more challenging course. Max: 15
ENGL 1413.701, 702 CRITICAL ANALYSIS & WRITING II (honors)
CID: Various Various times, rooms, and instructors
Critical thinking, research, and writing skills necessary for success in courses across the curriculum. Some sections available for honors credit. May be substituted for 1213 for gifted writers who seek a more challenging course. Max: 15
ENGL 1413.703 CRITICAL ANALYSIS & WRITING II (honors)
CID: 19482 TR 1030AM-1145AM M202 Franzese
This honors course in critical reading and writing will offer readings in fiction ranging from medieval to modern and centered on a common topic: "Growing Up; or, the death of the ego and the emergence of the transcendent self." The course will be conducted in seminar format and is designed to promote research writing skills. Attendance, participation and three brief papers, one of which will be developed into a full length essay in criticism, will comprise the graded components of the course. Max: 15
ENGL 1923.001-004 GREAT WORKS OF LITERATURE (H)
CID: Various MW 1030AM-1120AM CLBN102 Price, M.
The catalog describes this course as “Readings in the great works of the most important writers of Britain and America, such as Shakespeare, Dickens, Twain, Faulkner, and others.” For our purposes, Great Books are those that get noticed, and how better to be noticed than to be censored, banned, repudiated, or deemed offensive? In this class, we will be reading novels and plays from the nineteenth and twentieth centuries that have been challenged in theaters and schools and libraries, and paying some attention to the social mores that they are said to transgress. Evaluation via tests and papers. Lectures and weekly TA meetings. Discussion sections meet on Fridays. Max: 100
ENGL 2243.701 LANGUAGE TEXT & CULTURE (honors) (H, I)
CID: 12864 W 0645PM-0930PM M301 Garzon
The class will choose 3-4 of the following units, depending on members’ interests. 1. Mayan languages (culture, writing systems, the Popol Vuh, language shift, and standardization); 2. Polynesian languages (historical reconstruction and revitalization); 3. Languages of Canada (language ideology and politics among French, English, and indigenous language speakers); 4. Sign languages and other non-oral codes (culture, identity, and politics); 5. Pidgins and creoles (language creation and status); 6. Baxoje-Jiwere (a class project to design materials to be used in conjunction with an online dictionary being created for the Iowa-Otoe tribes). Students will keep a journal on the readings, which they will hand in at regular intervals, and they may occasionally analyze language data. As a project, class members will work in pairs to choose a language and prepare an oral and written report on some aspect of that language and its speakers. Max: 30
ENGL 2413.001-008 INTRODUCTION TO LITERATURE (H, D)
CID: Various Various times, rooms, and instructors
Fiction, drama/film and poetry. Written critical exercises and discussion. Max: 30
ENGL 2453.001-004 INTRODUCTION TO SCREEN STUDIES (H)
CID: Various Various times, rooms, and instructors
Lab 2. The principles of film form as they affect the art of watching and thinking about motion pictures. Max: 30
ENGL 2513.001, 003-006 INTRODUCTION TO CREATIVE WRITING (H)
CID: Various Various times, rooms, and instructors
Literary composition with emphasis on techniques and style through readings and writings in fiction, poetry and drama.
ENGL 2513.701 INTRODUCTION TO CREATIVE WRITING (honors) (H)
CID: 12883 MWF 0130PM-0220PM M307 Lewis, Lisa
A workshop with readings in contemporary poetry and fiction. Weekly submission of creative work, extensive critical discussion, portfolio with revisions at semester’s end. Max: 20
ENGL 2543.001-002 SURVEY OF BRITISH LITERATURE I
CID: 12884 MWF 1130AM-1220PM M304 Jones
CID: 18778 MWF 0230PM-0320PM M304A Eldevik
Major developments in the first thousand years of British literature -- the Middle Ages, the Renaissance, and beyond. Includes Beowulf, Chaucer's Canterbury Tales, Shakespeare and Milton. Two exams, several writing assignments. Max: 30
ENGL 2653.001 SURVEY OF BRITISH LITERATURE II
CID: 12885 TR 1230PM-0145PM M304 Franzese
This course will attend to the styles, concepts and cultural context to be identified with significant works from the periods of Romantic, Victorian and Twentieth Century British literature. Thus, the course will endeavor to offer not so much a history of literary events as a literary history of consciousness. We will measure our success by our ability to discern demonstrable continuities and creative departures in the course of our readings as we consider them, in large measure, through the lens provided by John Fowles, a 20th century author. Max: 30
ENGL 2773.002 SURVEY OF AMERICAN LITERATURE I (D)
CID: 12887 TR 0330PM-0445PM CLB317 Flota
The Puritans through the Romantic Period. Max: 30
ENGL 2883.001 SURVEY OF AMERICAN LITERATURE II (D)
CID: 12888 MWF 1130AM-1220PM M212 Cox
This course aims to expose students to a variety of texts written in America from 1855 to the present. Questions of national identity, shifting social and political boundaries, and literature’s ability to shape and reflect the common and uncommon conflicts within the diversity of the American experience will inform our discussion of assigned texts. Students will take a special interest in the author-as-artist as well as in writers from historically underrepresented groups. Two shorter papers, one longer paper, and two essay exams. Max: 30
ENGL 2883.002 SURVEY OF AMERICAN LITERATURE II (D)
CID: 12889 TR 1030AM-1145AM CLB118 Flota
The Romantic Period to the present. Max: 30
ENGL 3123.001 MYTHOLOGY (H)
CID: 12890 MWF 0930AM-1020AM M204 Eldevik
Gods and goddesses, warrior heroes and heroines, mysterious phenomena of nature, as personified by the ancient Greco-Roman imagination and depicted by poets such as Homer, Ovid, and Hesiod. Midterm and final exam; quizzes; short writing assignments, term paper, team presentation. Max: 27
ENGL 3123.701 MYTHOLOGY (honors) (H)
CID: 12891 TR 0330PM-0445PM M202 Wallen
Myths, their cultural context, and their place in world literature. Max: 22
ENGL 3153.001 LITERATURE BY WOMEN (H, D)
CID: 18788 MWF 1030AM-1120AM M304 Macvaugh
This course explores the ways women have rewritten “herstory” through their journals, poems, memoirs, short stories and novels. We’ll read the work of Emily Dickinson, Audre Lorde, bell hooks, Virginia Woolf, Tillie Olsen, Toni Morrison, Julia Alvarez, and Louise Erdrich among others. A journal, two papers, presentations and a final exam. Max: 27
ENGL 3173.002 WORLD LITERATURE II (H, I)
CID: 12893 MWF 1230PM-0120PM M103 Prchal
Selected literary masterpieces exemplifying ideals and values in non-Western cultures. Emphasis on the study of non-Western literature available in English. Max: 27
ENGL 3190.001 READINGS IN POSTCOLONIAL LITERATURE: The African Novel
CID: 12894 MWF 0130PM-0220PM M212 Rizzuto
This course examines works from Nigeria, Kenya, Botswana, Zimbabwe, Senegal, and South Africa that have made a significant impact in the history of the African novel. We will address issues specific to each work’s cultural and historical context, as well as consider how each text speaks to debates about the relationship between literature and history in postcolonial and Africana studies today. Authors to include Tutuola, Ngữgi, Head, Gordimer, Okri, Coetzee, Dangeremba, among others. Max: 27
ENGL 3203.001 ADVANCED COMPOSITION
CID: 12898 TR 0200PM-0315PM M212 Gildersleeve
This course will look at how, where and why we write. An advanced writing course (prerequisite: 9 hours of English), writers will be both reading and writing about theories of writing. Course is set up as a workshop/ seminar, with dual emphases on collaboration and individual work. Traditional academic forms will be addressed, as will journaling, reflection and other kinds of writing incorporating multiple intelligences Students should be prepared to read, write and revise. A lot. Max: 18
ENGL 3243.001 LITERATURE THEORY & CRITICISM
CID: 12899 TR 0200PM-0315PM M304 Wallen
Study of the major works of critical theory and literary criticism. Max: 27
ENGL 3263.001 SCREEN THEORY & CRITCISM
CID: 18781 MWF 1030AM-1120AM M305 Price, B.
This class is devoted to questions about the nature of the moving image and its relation to being. We will be consider questions about how images contribute to our sense of self, how they might be said to influence not only who we are but also how we behave with one another. Even though our culture produces images at an astonishingly rapid rate, so many cultural critics presume that images can only be bad for us: the more we watch, the more stupid we supposedly become. We will wonder about the extent to which images can control us, desensitize us, or just make us mindless consumers. We will take seriously, in turn, the possibility that such skepticism about the effects of images is overstated and work towards an understanding not only of the positive things that images can do, but the sophistication that moving image media--film, television, new media--can be seen to display. Max: 27
LAB: M 0330PM-0520PM M305
ENGL 3373.001 READINGS IN NONFICTION
CID: 18786 MWF 0930AM-1020AM M212 Talbot
Truman Capote’s In Cold Blood (1966); Bernard Cooper’s Truth Serum: Memoirs (1997), Edwidge Danticat’s Brother, I’m Dying (2007); Michael Chabon’s Maps and Legends (2008); Joan Didion’s Slouching Towards Bethlehem (1968), and The Best American Essays 2009, as well as an anthology of brief personal essays round out the playlist for this course. Through our readings, we will explore the nonfiction novel, the memoir, the essay, New Journalism, and the briefest of the form, as well as 2009’s best. Joan Didion claims, “We forget all too soon the things we thought we could never forget.” You will not forget these. Join us. Max: 27
ENGL 3383.001 READINGS IN NARRATIVE
CID: 12931 TR 1230PM-0145PM M212 Hall
Explore various narratives of transformation! This class will examine various texts that show how the narrator changes--whether it be spiritual, emotional, mental, or even physical. We will read such texts as The Book of Margery Kempe, Dracula, Frankenstein, and Surfacing, by Margaret Atwood. We will also examine various theories behind the narrative form. Max: 27
ENGL 3410.001 POPULAR FICTION: Science vs the Supernatural (H)
CID: 12932 MWF 1130AM-1220PM M208 Prchal
At least since the Enlightenment, science has vied against belief systems that include the supernatural for a reliable explanation of the cosmos. This struggle has been reflected in and reinforced by authors such as Edgar Allan Poe and Arthur Conan Doyle. This class looks at the history of this struggle, starting with Marlowe’s Doctor Faustus (c. 1592) and concluding with Neil Gaiman’s American Gods (2001). Max: 27
ENGL 3410.701 POPULAR FICTION (honors): Science Fiction (H)
CID: 18785 MWF 0230PM-0320PM BUS108 Walkiewicz
Surveying the genre of science fiction from the early 19th century to the recent past, we will concentrate on such things as gender and class issues as we analyze the ways various writers have examined what it means to be human. Along the way, we’ll encounter aliens and androids and explore a variety of dystopias and post-apocalyptic landscapes. Max: 15
ENGL 3430.001 TOPICS IN TELEVISION STUDIES: Television Space
CID: 18783 TR 0200PM-0315PM M305 Sutherland
Since the medium of television first entered the popular imagination in the late 1940s, electronic media technologies have changed how we think about space, place, and time. We organize our living spaces around television sets and computer screens; we connect ourselves to people and events that take place far from where we are through the virtual realities of “live” television, real-time webcams, and new technologies such as Skype; and we imagine the geography of places we’ve never been with the help of television and Internet images that transmit the experience of being “there” to wherever we are, and connect these spaces together in a larger network of “linked” places. In order to make sense of the social and political implications that all of these experiences hold, this course will introduce students to the history and theory of the relation between television and space in American culture—a topic which will only become more pressing as we introduce more screens into our lives. Max: 27
LAB: R 0330PM-0520PM M305
ENGL 3443.001 STUDIES IN FILM GENRE (H)
CID: 18779 MWF 1130AM-1220PM M303 Manon
In this course, you will engage in close analyses of a series of notoriously gritty, sexy, paranoid, and brazenly anti-humanist crime films collectively known as film noir. Whether noir constitutes a bona fide genre is debatable (and only debatably worth debating). However there can be little question that noir provides an illuminating object lesson in imitation and influence, repetition and variation. As the semester proceeds, students will investigate the stylistic techniques and narrative structures characteristic of film noir from various historical and theoretical perspectives. We will discuss not only films, but other noir-related artifacts such as newspaper editorials, true crime pulps, comic books and early television programs. The linchpin of our studies will be the assertion—one you will only ever hear in this class—that noir is best conceptualized as the genre of unsuspicion, a trope no less relevant today than it was in the early 1940s when noir first emerged out of the Hollywood machine. In depicting criminal masterminds operating right under the nose of an unsuspicious public, noir sought to differentiate itself from its close cousins, the gangster film, the classical detective “whodunit” and the modern gothic romance—each of which we will examine in turn. Required weekly screenings will include classic American films noirs such as Double Indemnity (1944), The Big Sleep (1946) and Blast of Silence (1961), as well as neo-noirs such as Chungking Express (1994), Mulholland Dr. (2001), Brick (2005) and Caché (2005). A mid-term exam, a final term paper and a screening journal are all required. Max: 27
LAB: W 0720PM-0930PM M303
ENGL 3453.001 HISTORY OF AMERICAN FILM (H)
CID: 12934 TR 1030AM-1145AM AGH107 Mayer
The history of American cinema from its origins in the nineteenth century to the present day. Topics include important genres such as the western, the gangster picture, and the musical; American auteurs; the studio system; film and society; the challenge of television; and the new American cinema. A weekly screening lab is compulsory. Two midterms and a final; film log and one paper; participation. Max: 54
LAB: W 0330PM-0520PM AGH107
ENGL 4013.001 ENGLISH GRAMMAR
CID: 12935 TR 0900AM-1015AM M208 Sheorey
This course is intended to give students a descriptive overview of the fundamentals of English grammar and usage, including those aspects of the English grammatical system that are relevant to the use of English in formal and informal situations and to what is generally referred to as Standard American English. Max: 19
ENGL 4063.001 DESCRIPTIVE LINGUISTICS
CID: 18776 TR 1030AM-1145AM M304 Cheng
This course focuses on the analysis of natural languages in the core areas of descriptive linguistics: phonetics, phonology, morphology, and syntax. While none of these areas will be covered in extreme depth due to time constraints, the course offers the opportunity to get a solid introduction to these topics. We will examine the basic principles of linguistic analysis and use this knowledge to solve problems based on data from various languages. Max: 19
ENGL 4170.001 STUDIES IN 20th-C BRITISH LITERATURE: Bleeding London
CID: 12941 MWF 1230PM-0120PM M102 Walkiewicz
We will examine the concept and depiction of The City in twentieth-century British fiction, poetry, drama, and film. Along the way, we will take up such matters as technical innovation, class and gender issues, and the impact of science and technology. Works by Anthony Burgess, Joseph Conrad, T. S. Eliot, Doris Lessing, Harold Pinter, Virginia Woolf, and others. Two papers and two essay exams. Max: 19
ENGL 4210.001 STUDIES IN 19th-C AMERICAN LITERATURE: Bestsellers and the Book
CID: 12942 TR 1030AM-1145AM M303 Walker
Seduction, betrayal, murder, moral outrage, mystery, and romance are the narrative engines of American’s most popular stories, nineteenth-century bestsellers often published as series, as serials, as sequels, as subscriptions, and as bestsellers turned into blockbusters. What texts were popular and why? What can our reading of bestsellers (a historie du livre) tell us about the society that produced and then by the millions, consumed them? Papers, presentations, and a final exam. Max: 19
ENGL 4220.001 20TH CENTURY AMERICAN LITERATURE: Reading the Five Senses
CID: 12943 TR 1230PM-0145PM M206 Bruner
How did the American dream become the American scream? In this course we will explore the sensual and psychological aspects of intense experience through reading with attention to the five (or six or seven) senses. The literature is roughly divided into a look at both urban and rural flesh, including authors such as William Faulkner, Allen Ginsberg, Toni Morrison, Ralph Ellison, and Edward Estlin Cummings. Smell the dung of the Great Depression; observe decay in the streets; taste the sweet potato of memory; cough your way through smoky bars to hear the jazz go down. As you indulge in the sensual, you will write two papers, take two exams, and read, read, read! Presentations, occasional essay quizzes, attendance and participation required. You gotta feel it. Max: 19
ENGL 4300.001 STUDIES IN ROMANTICISM: Darkness in US Antebellum Lit
CID: 18777 TR 0200PM-0315PM M102 Decker
This will be a study of Dark Romanticism, American style. We will begin with C. B. Brown, progress to Poe at his most warped, Whitman at his most morbid, and Dickinson in pierced-Goth phase. We will also read Moby-Dick. Naturally the course would not be complete without Captain Ahab and I guarantee that you will read and enjoy this long, verbose, and troubled narrative. Three papers, one inclass presentation, and final exam. Max: 19
ENGL 4320.001 STUDIES IN POSTMODERNISM: Gender, space, and time
CID: 12945 TR 0900AM-1015AM M206 Mason
Landscapes as photography, beauty as surgery, terrorism as fashion, events as television, facebook as family, iPod as iRaq: you wonder whether the world itself isn’t just here to serve as advertising copy in some other world. Someplace exotic like Oklahoma City, where the orgy is over, liberation is over. It is not sex one is looking for but one’s gender. I mean genre. Max: 19
ENGL 4400.001 REGIONAL LITERATURE: Contemporary Ireland
CID: 12947 TR 0330PM-0445PM M208 Grubgeld
Contemporary Ireland This course in the literature, film and culture of Ireland since 1975 focuses on the seismic changes in the family and the position of women and children in society, the now largely resolved civil war in the North, and the impact of globalization and new immigrants from distant parts of the globe. We’ll read two collections of short stories (Roddy Doyle and Emma Donaghue), a series of plays (Christina Reid), a novel (Bernard McLaverty), a memoir (Nuala O’Faolain), and Seamus Heaney’s iconic collection of poems, North. We’ll also study three films from the period. One paper, written homework, midterm and final. Max: 19
ENGL 4450.001 CULTURE & MOVING IMAGE: Comedy and Bad Manners
CID: 18782 MWF 0130PM-0220PM M305 Price, B.
Laughter, as we know, can come at the wrong time and without notice. By contrast, to have “manners” is to be capable of suppressing an opinion or an action that might offend someone else, even if suppression here means acting in a way that is in defiance of who we most obviously are. Perhaps, then, good manners are not so good at all and the laughter that comes at the wrong time might just be the indisputable sign of an awareness that the social could be otherwise. This class will be devoted, then, to a consideration of the role of laughter as social criticism. We will be particularly interested in thinking about films and television shows widely regarded as tasteless, mindless, and without any social value whatsoever, looking at such films and television shows as Observe and Report, East Bound and Down, Superbad, TV Funhouse, South Park, Sleeping Dogs Lie, Beer Fest, and many other “classics” of civilized culture. Max: 19
LAB: F 0330PM-0520PM M305
ENGL 4520.701 PROBLEMS IN ENGLISH (honors): Remembering the 1960s
CID: 12952 TR 1030AM-1145AM M310 Decker
This class will preserve a double emphasis: the famously turbulent 1960s and the act of remembering this decade. Reading works by Robert Stone, Ken Kesey, Alice Walker, Joan Didion, and Tim O’Brien, listening to various latter-day covers of sixties songs, examining portraits of sixties life such as the wildly popular AMC series Mad Men, considering ways in which a film like 2001: A Space Odyssey anticipates us, and keeping a sharp eye for T-Shirts that make reference to Che Guevara and Woodstock, we will proceed on the premise that we all remember the sixties, whether we were alive in that decade or not. Three projects on self-directed themes, two class presentations, and a final examination. Max: 15
ENGL 4523.351 TECHNICAL WRITING INTERNSHIP
CID: 12953 Time and location TBA Batteiger
Prerequisite(s): Six credit hours of English, including 3323. Practice in writing resumes, proposals, abstracts and articles. Concentrated review of mechanics, proofreading, editing and interviewing techniques. Second eight weeks will include internship experience. Max: 10
ENGL 4543.001 TECHNICAL EDITING
CID: 19420 TR 1230PM-0145PM M106 Lewis, Lynn
This course is a close study of the principles of technical editing and style that aims to improve the student's ability to edit documents. Students will learn the different levels of editing, copyediting, proofreading, and editing for content and organization, among others. In addition, they will study and practice editing a variety of documents, both on screen and off, paper-based and web-based. Max: 18
ENGL 4630.351-352 ADVANCED FICTION WRITING
CID: 12955 MWF 0230PM-0320PM M304 Graham
CID: 19495 TR 1230PM-0145PM CLB121 Billman, J.
This course will continue the exploration of the craft of the short story in a workshop setting. In addition to the writing of fiction, the course includes extensive reading. 3030 is a prerequisite. Max: 18
ENGL 4630.801 ADVANCED FICTION WRITING (TULSA): Writing Across Genres
CID: 19371 T 0430PM-0710PM T-MCB2228 Miller
Writing Across Genres is designed to help writers discover their own creative potential in those formats best designed for their particular talents. In addition to focusing on the artistic aspects of writing, the course will also include practial information on publishing. The course's instructor, Teresa Miller, is a nationally published author and has been editor for such as authors as S.E. Hinton, Jim Lehrer, and Rilla Askew. Max: 19
ENGL 4640.351 ADVANCED POETRY WRITING
CID: 12957 MWF 1230PM-0120PM M204 Lewis, Lisa
Continued development, through workshop and readings, of the numerous requirements of poetry writing. A poem a week, portfolio with revisions at semester’s end. Max: 18
ENGL 4640.352 ADVANCED POETRY WRITING
CID: 19494 TR 0330PM-0445PM M206 Ai
Taught as a workshop and involves more intense explication of poems than the other undergraduate poetry writing courses. Be prepared for more intense scrutiny of your work and more class discussion. Max: 18
ENGL 4700.001 AUTHOR OR WORK PRE-1800: The Bible as Literature
CID: 12958 MWF 0130AM-0220AM M204 Jones
A look at influential Hebrew, Christian, and Gnostic texts. The class will attempt to discover their significance through a secular approach. The class should not be considered "religious study" or a forum to discuss matters of personal faith, testimony, revelation, or the like. Textual analysis and discussion will look instead at cultural contexts and literary features and techniques. 2 papers, 2 exams, one tutorial. Max: 19
ENGL 4723.001 SHAKESPEARE: Shakespeare's Romances (H)
CID: 18787 MWF 0230PM-0320PM M212 Wadoski
This course focuses on the romances with which Shakespeare concluded his career: Pericles, Cymbeline, The Winter’s Tale, Two Noble Kinsmen and The Tempest. These plays are the culmination of Shakespeare’s achievement as a literary craftsman, reimagining and bringing together many of the issues that drove his earlier comedies and tragedies. They are also a return to a set of forms and conventions that were seen by his peers as primitive and simplistic, derided by Ben Jonson as “moldy tales.” Shakespeare gives us a world of magicians, prophets, and witches, long-lost children, pastoral havens, wicked stepmothers, and statues coming to life. In this fairy tale setting, he also gives us some of his profoundest reflections on his own work as an artist. We will situate our readings in the broader context of Renaissance romance, examining the texts and literary traditions on which Shakespeare drew in fashioning these works. In addition to these five plays, we will read Chaucer’s “Knight’s Tale,” several of the late classical romances popular in 16th-century England, and brief selections from Sidney’s “Arcadia,” Lyly’s “Euphues,” and Spenser’s “Faerie Queene.” Assignments will include several short response papers, an individual tutorial, a 10-12 page research-based paper, and a final exam. Max: 19
ENGL 4901.351 TUTOR TRAINING
CID: 12963 W 0830AM-0920AM M101 Damron
Lab 3. Training to become effective writing tutors and teachers through face-to-face conferences with writing students, weekly seminar presentations, and discussions of current writing center theory and practice. Max: 20
Courses taught by English Department faculty or sponsored by the English Department
AMST 3513.801 FILM AND AMERICAN SOCIETY (Tulsa) (H)
CID: 18815 M 0430PM-0710PM T-NCB119 Takacs
Examination of the US film in its social, political, economic, and cultural contexts. Topics may include the history of US film production, distribution and consumption; Hollywood film genres; independent cinema; the star system; and/or representations of historical events, political issues, or social groups in US film. Max: 45
AMST 3950.802 SPECIAL TOPIC AMERICAN STUDIES (Tulsa): Post 9/11 American Culture
CID: 18722 T 0430PM-0710PM T-NCB212 Takacs
3 credits, max 12. Particular topics (popular culture, regionalism, myth, subcultures, race, ethnicity) to illustrate the use of interdisciplinary methods in American studies. Max: 30
ASL 1225.001 AMERICAN SIGN LANGUAGE II
CID: 10655 MTWRF 1230PM-0120PM STOUT040 Busby
This is a continuation of ASL1115, this course further develops receptive and expressive skills in ASL in authentic situations and expands the study of Deaf Culture, grammar, linguistics, number rules, role shifting, classifiers, and storytelling. Prerequisite: ASL 1115 with passing grade of “C” or better or approval of instructor. Max: 20
ASL 2233.001 AMERICAN SIGN LANGUAGE IV
CID: 10656 TR 0645PM-0800PM CLB221 Busby
Students learn about the poetic side of ASL, narrations, ABC stories, songs, literature, classifier stories, ASL poetry, and jokes. Prerequisite 2213 ASL 3 with “B” or better. Max: 20
GWST 3450.001 TOPICS IN GENDER STUDIES: GLBTQ Literature
CID: 18731 MWF 1030AM-1120AM M206 Cox
1-3 credits, max 12. Prerequisite(s): 2113 or 2123 or permission of instructor. Suggested topics include: women and health, women and science, women and religion.
GWST 3450.002 TOPICS IN GENDER STUDIES: Gender & Violence
CID: 19403 T 645PM-930PM CLB218 Macken
Over the past three decades, public awareness of violence as a human rights violation has increased dramatically. In this class, we will examine the gendered and systemic nature of violence. Our focus will be on both understanding and preventing gender-based violence, asking, what must men and women do to put an end to this social problem? This will require us to examine our own ideas about gender and inequality. We will pay special attention to the ways in which gender-based violence is perpetuated through interpersonal relationships and through social institutions such as the judicial system, the media, law enforcement, organized sports, and schools. We will also investigate the effects of systemic and interlocking forms of oppression and privilege. Max: 25
GWST 3613.001 RACE AND REPRODUCTION
CID: 18732 TR 1030AM-1145AM M212 Mason
This course introduces students to some of the newer scholarly approaches to reproductive politics by focusing on issues of racism, nation building, and imperial expansion yet retains an older feminist approach by examining women’s experiences with the racialized issues of fertility, childrearing, and motherhood. Max: 25
HONR 1043.705 TWENTIETH CENTURY (H)
CID: 18747 MWF 1030AM-1120AM LSW103 Jones
Prerequisite(s): Honors Program participation. Interdisciplinary study of art, history, philosophy and literature from the late 19th century to the present. Team-taught by faculty from appropriate disciplines in a lecture and discussion format. For the Honors student. No credit for students with prior credit in HONR 2223. Max: 22
An asterisk (*) following the course number indicates the course is approved for graduate credit. Extra work is required of a graduate student in a 4000 level course.
English Department
College of Arts & Sciences
Oklahoma State University
205 Morrill Hall
Stillwater, OK 74078
Phone: 405-744-9474
For Information about English Programs: english.information@okstate.edu
Webmaster: engweb@okstate.edu