Current Course Offerings

You will use two forms each time you are advised, the Student Advising Form and the Permission Request Form.

Forms can be found on the Resources page

Step 1: The student advising form will help you and your adviser get a clear picture of where you are in your progress toward your degree. 

In addition to contact information, the Student Advising Form asks for 4 pieces of information:

  • Course Abbreviation
  • Course Number
  • Course Section
  • Teacher

Example: ENGL 6390 476 HEMBREE

Step 2: Once your adviser reviews your Student Advising Form, you will receive an email approving your choices or making alternate suggestions. You will enter your approved course selections on the Permission Request Form, which is all found on the Resources page.

You will receive an email when those course permissions are ready to be used on Webstar. You should use your permissions immediately to avoid losing them.

Fall 2014 (Semester 1100) Courses

Background Literature or Elective Courses

ENGL 5702-476 LATER 18TH CENTURY LITERATURE — Barbara Fitzgerald
ENGL 6245-476 THE NOVEL AS A GENRE--Dan Doll

Required Workshops (May also be taken as electives)

ENGL 6191-476 Remote Fiction Workshop — Barb Johnson
ENGL 6193-476 Poetry Workshop— Carolyn Hembree
ENGL 6194-476 Nonfiction Workshop — Richard Goodman
FTA   6259 / 6209-476 Scriptwriting  J.Maxwell

Thesis Hours

ENGL 7000-001--(Please indicate number of hours--3 or 6-- that you intend to take in the "teacher" box)*Reminder: Financial aid will only pay for a total of 6 thesis hours during the course of your program.

*Exam or Thesis Only

ENGL 7040-001--Shenk

*This course bears no credit and comes with only a small fee. It is meant for students who have finished all course work and who need to take the comprehensive exam or defend the thesis.

Course Descriptions



A survey of English literature from 1740 to 1800. With Samuel Johnson and literary London as the central focus, we will examine mid- and later-eighteenth-century contributions to poetry, the essay, lexicography, criticism, travel writing, biography, and the novel. Along the way we will read representative works of Joseph Warton, William Collins, Thomas Gray, Oliver Goldsmith, Hester Thrale Piozzi, James Boswell, George Crabbe, William Cowper, and Jane Austen. We will view the recent films Amazing Grace and Mansfield Park. Requirements include written weekly discussion responses, a critical research paper, a midterm exam, and a final exam. Graduate students will write a longer research paper and have additional assignments, including an annotated bibliography. An online course makes heavy demands on reading and writing, so be prepared!

Johnson, Samuel Johnson: The Major Works (Oxford World'sClassics), Oxford UP, ISBN 9780199538331
Samuel Johnson and James Boswell, A Journey to the Western Islands of Scotland and The Journal of a Tour to
the Hebrides, Penguin, ISBN 9780140432213
James Boswell, Life of Johnson (Oxford World's Classics), Oxford UP, ISBN 9780199540217
Jane Austen, Mansfield Park, ed. Sutherland, Penguin Classics, ISBN 9780141439808




This course is devoted to the theoretical and historical conventions and developments of the novel, beginning with the apparently obvious: What makes a novel a novel? We will explore matters of narrative strategy, focusing on narrative distance, point of view, and kinds of narration. In addition, we will focus on varying notions of fictional character, human psychology, and the relationship between plot and character.

The course requirements include two medium length papers, the first of 8-10 pages on one novel and the second a comparative essay of 12-15 pages. Weekly responses via Moodle are also required. And of course there will be plenty of reading.

TEXTS: Austen, Pride & Prejudice James, What Maisie Knew
Conrad, The Secret Agent Ellison, Invisible Man
Waugh, A Handful of Dust Allende, The House of the Spirits
Kundera, Immortality Gaiman, American Gods




Our primary emphasis in this seminar is on the period of "high modernism" when writers, in the wake of waning Victorian/Edwardian certitude, often challenged traditional conceptions of narrative form, point of view, time, subject matter, and of course "reality" and "truth." What emerged from this period were novels about, among other important subjects, the construction of self, developing artistic sensibilities struggling against societal constraints, and more general existential crises born of attempts to locate new versions of/alternatives to outworn belief systems. Much of the fiction of this period, regardless of mode, explores the complex interactions between subjectivity and authority, and this will be a special emphasis of ours.

NOTE: Though we will read short novels by James and Mann and either The Age of Innocence or The Trial, we will foreground British fiction of the period.

Students will write two five-page essays and a 10-12 page essay; there will be a take-home mid-term and an in-class final. Class format will be a blend of lecture and discussion.
Possible texts:
Conrad, Heart of Darkness or The Secret Agent; Forster, Howards End; James, The Aspern Papers, Joyce, Dubliners, Lawrence, Sons and Lovers, Ford, The Good Soldier ,Woolf, Mrs. Dalloway, Wharton, The Age of Innocence, Kafka, The Trial, Mann, Death in Venice.



FTCA 6209 Section 476 Playwriting J. MAXWELL
FTCA 6259 Section 476 Playwriting J. MAXWELL

The course counts for required workshop in either genre.

These classes will be combined, giving students the rare opportunity to explore both playwriting and screenwriting in a single semester. At its best, playwriting takes the strengths of poetry, non-fiction, and fiction and reshapes each genre's skill set into a medium that has unique physical and temporal qualities. Screenwriting sacrifices the immediate, visceral strength of theater for the ability to control the eye of the viewer while moving the audience through space, and giving the writer access to a realm of unique effects. Both are mediated genres; the writer's words are not experienced directly by readers but are mediated to an audience via a host of other artists. This complex relationship poses unique challenges and opportunities for artists working in language. Those challenges will constantly inform the development of our work. We'll make texts in both genres to better understand the strengths and advantages of each. Consequently, we will use workshops, peer responses, discussion posts, and Moodle forums to develop new scripts.