Undergraduate Courses, Summer 2006

Times and locations of class meetings are subject to change. Consult the UF Schedule of Courses for official class times and locations and an explanation of the class period abbreviations.

Upper Division (3000–4000) Courses, Summer Sessions A & B

Note: Only course descriptions are listed below. For a comprehensive summary of course numbers, sections, times and locations, titles, and instructors, see the following web page:

AML 4685

Race and Ethnicity in Twentieth-Century American Literature: Jewish-American Fiction

Andrew Gordon

This course traces the development of Jewish-American fiction within the context of twentieth-century American literatures and cultures and deals with the role of ethnic literatures within our multiethnic nation. Though diverse in form and style, most of the works we will read concern problems of assimilation of Jews into American society and the quest of the protagonists for identity as both Americans and Jews. We begin with the influence of Eastern-European Yiddish literature (stories in translation) and then read a selection of Jewish-American stories and novels from throughout the twentieth century. We will study how Jewish-American authors contributed to traditions of naturalism, realism, modernism, and postmodernism in twentieth-century American fictions.

I hope this course will make you a more sensitive interpreter of American culture and a better writer.

Texts (at Goering’s Books, 1717 NW 1 st Ave, next to Bageland):


  1. 10% – Attendance and participation. After the first two classes, attendance counts. You are allowed two free cuts; every unexcused cut after that means three percent off your final grade. Being present is not enough; you are strongly encouraged to participate as well.
  2. 20% – Ten quizzes on the reading.
  3. 25% – One four-page paper (approximately 1000 words). Deal with one work from the first three weeks of class.
  4. 35% – Term paper. A researched argument (cite at least three critical sources) of six-seven pages (approximately 1500–1750 words). Deal with one or two works from the last three weeks of the class.
  5. 10% – Oral report about an author or work. May be done in a group of two-four students, five minutes per student.


ENC 3312

Advanced Argumentative Writing

Ron Carpenter

In the short summer term version, Argumentative Writing (ENC 3312) focuses on several specific facets of the rhetorical process by which discourse can influence the attitudes and actions of other people. Students practice these techniques, respectively, in shorter weekly papers as well as a longer final paper, which incorporates virtually all of the principles studied and practiced earlier. Papers are discourse to persuade on current controversial topics of the students' choice, likely related to their immediate interests or future professional goals. The only prerequisite for the course is the capability to write grammatically correct sentences that also are punctuated correctly.

Summer session instruction has the following format. On Mondays and Tuesdays, your instructor lectures about principles and techniques to practice that week. At the end of the Tuesday period, the paper for that week is assigned. Attendance and careful taking of notes are very important because in the summer term the course does not have a textbook. The instructor will suggest readings if you need them, but the lectures should make supplementary reading unnecessary. If unsure of your ability to take notes, however, you may audio tape Monday and Tuesday lectures. Wednesday class meetings are for informal discussion wherein your instructor answers questions about materials covered in lectures and responds to examples of the techniques that you find in current newspapers and periodicals. On Thursdays and Fridays, all students are scheduled to read aloud – for prior feedback from the instructor – excerpts from early drafts of their writing assignments. The final draft of each weekly paper is turned in the immediately following Monday and returned, graded, on Wednesday (before the next paper is started). The longer final paper must incorporate most of the principles and techniques practiced in the shorter weekly papers as well as organizational factors.

All papers must be turned in typed, double-spaced, and of the assigned length. Your instructor requires your use of computer word processing. Therefore, lengths of papers are known, and your word processing program will check your spelling (grades on papers can suffer accordingly because of spelling, punctuation, and grammatical deficiencies). In papers 1, 2, and 3 you must “color code” by underlining to identify specific techniques you are using (so obtain several different color markers).

A final exam calls upon you to analyze the principles of persuasive writing utilized in a prominent instance of rhetorical discourse. You must identify correctly the principles or techniques being used, their quantitative extent, and why they are qualitatively appropriate or inappropriate. Students also will re-write portions of that text using different techniques named on the test by the instructor. Students will receive a copy of that text in a class meeting before the examination day.

The final grade in the course is determined one-third by the final exam grade, one-third by the longer final paper, and one-third by the average on the shorter weekly papers. Again, the course in the summer does not have a textbook so attendance and careful note-taking are very important.

For the Summer A term in 2006, my office hours are Tuesday and Thursday afternoons, 3:00–5:00. Students can see me during those hours without appointments. My office is in 4340 Turlington Hall; my telephone number is 392–9110 ext. 265.


ENG 3010

The Theory and Practice of Modern Criticism

Raúl Sánchez

The catalog’s description of ENG 3010 reads as follows: “An intensive introductory study of 20th-century theory.” We’ll achieve this intensive introduction by studying with great care a relatively small number of important and allegedly difficult theoretical texts, tracing their arguments (or lack thereof) from page to page. The idea behind this strategy is to help you become familiar with what we might call the rhetoric of theoretical discourse in & around English studies. If the course is successful, at its end you should be able to apprehend almost any theoretical text with considerably more confidence and competence than you possessed at its beginning.


Attendance and participation. There will be no lectures. Instead, we’ll spend hours and hours of class time pouring over paragraphs of dense prose, as one large group and in smaller groups. You’ll need to be present, and active.

Summaries. Each week, you’ll write four 250-word summaries of the day’s reading. Each summary will be due at the beginning of each class, Monday through Thursday. Summaries will be evaluated on a credit/no-credit basis. You may not submit a summary before or after a class in which you’re absent.

Abstracts. At mid-term and at the end of the course, you’ll submit an abstract of a theoretical article. I’ll provide a list of articles, as well as detailed instruction on how to write an abstract. These will be evaluated according to their accuracy, attention to argumenative detail, and prose style.


ENL 4333


Peter Rudnytsky

This course will consist of close reading of five plays spanning Shakespeare’s career in the genres of comedy, history, tragedy, and romance: Two Gentlemen of Verona, Henry IV, Part II, All’s Well That Ends Well, King Lear, and The Tempest. The theoretical approach will be primarily feminist and psychoanalytic, but no background in these perspectives is presumed. Course requirements are three in-class tests and one five-page paper. Frequent quizzes will be given to monitor compliance with the assignments. Regular attendance and active participation in class discussions are also expected.


LIN 3680

Modern English Structure

Roger M. Thompson

No course description available at this time.


LIT 4331

Childrens Literature

John Cech

No course description available at this time.


LIT 4535

Women and Popular Culture: Genre and Fluidity in African American Women’s Popular Culture

LaMonda Horton Stallings

This course focuses on the “place” of Black women in different narrative forms in popular culture – film, television, mass-produced novels, etc. Emphasis will be placed on the texts themselves and the relevant surrounding criticism and theory. The topic of this particular section of women and popular culture will focus on the how African American women cultural producers bend and break boundaries of fictional, musical, and cinematic genres with their work. We will play close attention to how discourses of race, class, gender, and sexuality illuminate their strategies and their deconstruction of genre structures. We will also examine Black female performances in white and black masculine representations of genre and fluidity in African American popular culture.

Tentative Texts:

Requirements: Quizzes, daily attendance, 2 tests, and a final paper/project.


LIT 4930

Gothic, Haunting, and the Uncanny

Julian Wolfreys

As a genre, the Gothic comes into being with the publication of Horace Walpole’s The Castle of Otranto and ends, according to many critics, either with Maturin ’s Melmoth the Wanderer or Mary Shelley’s Frankenstein. The Gothic may thus be considered the dark ‘other’ of romanticism, a predominantly, though not exclusively narrative mode the typical features of which are haunted houses, malevolent monks, thunderstorms, creaking castles, and violent or passionate acts, all of which take place.

However, while the genre can be assigned dates more or less (from the 1760s to the 1820s), its imagery, metaphors, narrative devices, and tropes, survive throughout the nineteenth century in English fiction, but given a more ‘domestic’ treatment, so that what is monstrous appears not as a result of finding oneself in a castle in the Carpathians, but on the streets of London. Such work culminates in the fin de siècle, in novels such as Dr Jekyll and Mr Hyde, or Dracula.

While the literary texts mentioned are well-known, there are many others that draw on the Gothic, and related narrative forms. In the nineteenth century, ghost stories proliferate, as do tales of ghastly crimes and stories of uncanny encounters. In this course, we will be charting the fortunes of the Gothic from the end of the eighteenth century to the end of the nineteenth. We will read both novels and short stories, in order to understand how the genre is transformed and, in some ways, how it becomes ‘spectralised’.

At the same we will also be looking at theories of the uncanny, horror, and monstrosity, from Freud to the present day. Also we will consider the uses of mesmerism, the role of technology, the question of gender, and the issue of trauma in the Gothic narratives of the nineteenth century, as these serve to speak to conditions of historicity and modernity for the contemporary reader.

Readings (subject to availability)

Critical Reading

Requirements include regular attendance, punctuality, participation in class discussions, and two essays.


ENL 3132

English Novel: 20th Century

Brian McCrea

This course will study how six 20th Century British novelists respond to the attenuation of traditional sources of value, particularly religious and social sources. It will emphasize how all these novelists (albeit in significantly different ways) offer characters who pursue their lives after a catastrophe of some sort – a catastrophe which impugns prior custom, prior versions of “manners.” In our readings, we will focus upon narrative voice and how authors grant or deny authority to it. We also will analyze the relationship (or lack thereof) between the order of the narratives and the order of those societies that the narratives represent. Paul Fussell’s The Great War and Modern Memory will establish a social context for our readings and open a central question: if the 19th Century witnessed, in J. Hillis Miller’s phrase, the “disappearance of God,” did the 20th witness the disappearance of grammar?


All these books are available at Goering’s Books and Bagels, 1717 NW 1st Avenue.


The class will combine lecture and discussion. Students will write a 10–12 page semester paper and a final examination. They also will be expected to participate in class discussions. Students who have difficulty speaking in class should see me about other ways to contribute. The final examination will consist of identification and short answer questions. Students will need to know the time schemes of the novels and the significance of specific characters, events, objects and quotations. All the questions will come from points made repeatedly in my lectures. Class sessions typically will open with the students writing briefly (10–15) minutes in response to a question about the day’s reading.


LIT 3041

Studies in Drama: Citizen Comedy and Domestic Tragedy in the Age of Shakespeare

Robert Thomson

A study of a group of plays unified by being set in the contemporary London and environs of their authors in the late sixteenth century or the opening decades of the seventeenth century. The main focus will be upon the texts and their social, political, historical and cultural contexts.

It has been suggested that City Comedy (however we define it) moved to the center of the Elizabethan Stage when Londoners started to reflect upon their new social roles and their urban setting. Social mobility with its attendant pretensions, hypocrisy, greed, pathos etc, arose in the midst of the new middle class society of trade and commerce and gave substance to these plays, as did the threatened state of an increasingly impoverished and newly dependent gentry.

The plays to be studied will be:

Two essays will be set (ca. 2000 words) and in addition there will be a number of in-class tests and oral reports. There will be no final exam. Absences will affect final grades.