Spring 2019: EH Graduate or JUMP Courses These courses are also options for JUMP students. Consult with your JUMP advisor. CRN 11083, EH 510 01: ADV FICTION WRITING, M 05:50PM 08:40PM, Instructor: Anna WeberCRN 11089, EH 510 02: ADV FICTION WRITING, MW 01:00PM 02:20PM, Instructor: Anna WeberPractice in writing fiction from conception to revision. Students will read and write contemporary literary fiction. Student work will be commented on and critiqued in regular class workshops. The class culminates in a revision portfolio. CRN 11093, EH 522 01: STUDIES IN THE NOVEL, R 05:50PM 08:40PM, Instructor: Dr. Eric Smith“Prospective Horizons: Utopia and Dystopia”: Taking seriously Oscar Wilde’s famous observation that “a map of the world that does not contain Utopia is not worth glancing at,” this course will serve as an introduction to this most elusive and contentious imaginative concept, one that continues to shape a wide array of cultural expressions and political viewpoints. We will survey prominent cartographers of utopia, from the early modern to the contemporary, and introduce key concepts and terms, tracing a brief evolutionary arc of the utopian imaginary from its position of relative prominence in the eighteenth and nineteenth centuries to the sharply dystopian (more often anti-utopian) turn of the twentieth century and beyond. We will consider a selection of significant literary, cinematic, and theoretical texts. CRN 11096, EH 550 01: CHAUCER, T 05:50PM 08:40PM, Instructor: Dr. Joey TaylorLate-fourteenth century London was filled with political turmoil, street riots, pandemics, the specter of international war, and ... some of the most profound poetry of the Middle Ages. In his London life, Geoffrey Chaucer witnessed the Black Plague, the shock of the 1381 Peasant’s Revolt, the suppression of King Richard II by the Merciless Parliament of 1388, and the King’s overthrow in 1399. This course will introduce you to Chaucer’s eclectic works. As we go, we’ll consider the many ways that city life haunts Chaucer’s poems, including The Canterbury Tales, Troilus and Criseyde, and the House of Fame. CRN 12369, EH 552 01: USER-CENTERED DESIGN, M 06:00PM 08:40PM, Instructor: Dr. Candice LaniusUser Centered Design provides a comprehensive introduction to User Experience (UX) design and orients students to important design concepts and practices employed early in the UX lifecycle. By reading design theory and reflecting on course concepts in written responses and sketching assignments, students will learn the importance of reflection and conceptual brainstorming early in the user experience design workflow. The course covers the key concepts of ideation, design paradigms, affordances, ethics, participatory design, contextual inquiry, embodied interaction, emotion, ubiquitous interaction, and design requirements. Lectures will be discussion based with readings, short responses, and sketching assignments. Class will culminate with a final conceptual design presentation and report documenting the process and requirements for the user’s experience. Students will leave the course understanding the value of user experience design, able to holistically address interactions, and prepared to brainstorm solutions to emerging problems within a user experience and share their ideas with both expert and non-expert audiences. CRN 11105, EH 554 01: NEW MEDIA WRITING & RHETORIC, TR 04:20PM 05:40PM, Instructor: Dr. Michael McGinnisIn this course, we will engage new media rhetorics as both an object of scholarly study and as models of rhetorical production. To these ends, the course is divided into two parts. In the first part of the course, we will engage scholarship in new media and digital rhetoric to better understand the research methods, approaches, and subjects of the field; students will apply these methods to a study of an online community of their choice. In the second part of the course, we will take a closer look at the rhetorical practices of online communities and platforms and use those rhetorics to create digital-native texts. Major texts for this course will include Brooke, Lingua Fracta; Milner, The World Made Meme; Eyman, Digital Rhetoric: Theory, Method, Practice; Rice, Digital Detroit; these texts will supplemented with articles and chapters supplied by the instructor. CRN 10932, EH 603 01: EDITING FOR PUBLICATION, ONLINE, Instructor: Dr. Joy RobinsonA comprehensive survey of best practices for editing documents for clarity, correctness, accuracy, style, design, and usability. Course involves working with writers to edit work for publication. CRN 10933, EH 680 01: 18TH CENTURY STUDIES, W 05:50PM 08:40PM, Instructor: Dr. Anna Foy"Literary Controversy": In recent years, we have witnessed our fair share of public controversies about celebrities, politics, art, and popular culture; the arrival of social media and 24-hour news media have helped us to experience these controversies with newfound immediacy. Eighteenth-century Britain saw its own version of this media shift. But, in those days, the new technology was print, which proliferated in England with unprecedented freedom. Major writers were celebrities in the eighteenth century; and, because about half of published literature was poetry, literary skirmishes erupted in verse as well as prose. This course dives into several of these controversies, some of them about strictly “literary” topics like the use of figurative language, and others about such fundamental civic questions as the nature of women, the nature of good public manners, and the importance of free speech. Authors are likely to include: Jonathan Swift, Mary Wortley Montagu, and Samuel Richardson. An option for the final paper will be the collaborative design of a website on Alexander Pope’s Dunciad, a poem that mercilessly, imaginatively mocked contemporary writers and printers as “dunces.” CRN 10934, EH 695 01: STUDIES IN 19TH CENTURY LIT, M 05:50PM 08:40PM, Instructor: Dr. Joe Conway“Talking Things in American Culture”: In cartoons, brave little toasters speak, puppets have no strings to hold them down, and frogs sing opera. In Capital Marx describes a table that can talk and even stand on its head. An early genre of the novel included “It-narratives,” autobiographies narrated by non-human speakers like coins, dogs, and handkerchiefs. On SNL, Kanye West performs as a bottle of Perrier with Lil Pump dressed as a bottle of Fuji, and in the new podcast Everything is Alive, two human hosts interview everything from a can of Coke and a tooth to a pillow and an elevator. The non-human world seems downright garrulous. All kidding aside, what can we gain by taking the imaginary talk of non-humans seriously? Philosopher Bruno Latour writes that the myth of being “modern” rests on the false belief in a “Great Divide” that separates our world into human subjects and non-human objects. In previous centuries words like “fetishism,” “animism,” or “idolatry” described cultural practices that revolved around the “primitive” act of treating non-human beings as if endowed with agency. This class will challenge such an anthropocentric account of modernity and the political structures it enables by studying texts that blur the line between “I” and “it” – with special attention placed on the role of speech. We will begin our investigation with nineteenth century “It-narratives” (ex. “The Reminiscences of a Rag”), as well as novels and autobiographical narratives that probe the human/thing distinction. Readings might include essays and tales by Poe; abolitionist texts like Stowe’s Uncle Tom’s Cabin and Henry “Box” Brown’s Narrative; Bird’s Sheppard Lee, a gothic tale of transmigration, reanimation, and bodysnatching; Melville’s Moby Dick, James’ Spoils of Poynton, and Chesnutt’s Conjure Tales. Films might include Pinocchio, Toy Story, Blade Runner, and Mad Max: Fury Road. We will also work with key theoretical contributions related to the “non-human turn” in the humanities made by thinkers like Latour, Jane Bennett, William Pietz, Bill Brown, Isabelle Stengers, Igor Kopytoff, Arun Appadurai, and Sianne Ngai. For more information, contact the English Department at email@example.com or 256.824.6320.