Undergraduate Courses, Summer 2007

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:

ENC 3310

Advanced Exposition

Raúl Sánchez

The Undergraduate Catalog describes this as “an advanced composition course in methods of exposition: writing definition, classification, comparison and contrast, analysis, illustration, identification.” We will focus on three of these, to be named later. In addition, and more important, expect precept and practice on prose style.


ENG 4133

Medieval Film and Media

Richard Burt

We will examine the medieval and early modern imaginary on film in relation to medieval and early modern media, including tapestries, manuscripts, and paintings, that have been regarded as proto-cinematic. Particular attention will be paid to emergence of perspective and anamorphosis in the Renaissance, the margins of medieval manuscripts, the cinematic paratext, and what can and cannot be made visible on film. Selected readings include selections from Getting Medieval, The Shock of Medievalism, Defaced: The Visual Culture of Violence in the Late Middle Ages, and essays by Stuart Airlie, David Williams, Gérard Genette, Stephen Greenblatt, Tom Conley, Peter Stallybrass, Umberto Eco, Natalie Davis, Carlo Ginzburg, and Vivien Sobchack, among others. These will be available on UF course reserves. Films include The Name of the Rose, A Knight’s Tale, Ivan the Terrible, The Passion of Beatrice, Andrei Rublev, The Seventh Seal, The Reckoning, Perceval le Gaullois, The Return of Martin Guerre, El Cid, Anchoress, The Passion of Joan of Arc, Seven, Anchoress, Day of Wrath, short films by the Quay Brothers, The Devils, Artemisia, and Kingdom of Heaven. Assignments include a film clip exercise (a detailed close reading of a scene from a film we’ll watch) and a 10–12 page research paper as well discussion questions on the readings and films for each class. Regular attendance is required both for class and for the screenings. Participation in class discussion is also required. Required books: David Wilson, The Bayeux Tapestry, David Bordwell and Kristin Thompson, Film Art: An Introduction, and Michael Camille, Image on the Edge: the Margins of Medieval Art.


ENL 3210

Medieval English Literature

James Paxson

Using The Broadview Anthology of British Literature, volume 1, we will study a slate of major works from the Old and Middle English periods. Works include

Critical approaches range across anthropological, structural, rhetorical, psychoanalytical, historical and gender-based analyses. There will be a series of weekly, in-class essay exams.


ENL 3241

The Romantic Period

James Twitchell

This is an undergraduate survey of English romantic writers. It is roughly divided into nine parts: an introduction to romanticism, and then eight sections on individual writers. There is, relative to other English courses, little outside reading, as the main concern of the course is a careful reading of selected representative works. This is deceptive, for students might assume that the course will therefore be easy. There will be weekly quizzes (embarrassingly objective for an English course) and two short papers (not necessarily research papers). The quizzes give me a chance to get answers to questions I think are important; the papers give you a chance to form answers to questions you think are important. The class is informal and relaxed, but the quizzes and papers are not. The quizzes stress material covered in class and so it might be suggested that you take good and careful notes.



LIT 4183

Postcolonial Literature

Malini Schueller

By the beginning of the twentieth century, a few European powers – mainly Britain and France – had colonized 80% of Asia and Africa. Nationalist movements during the latter half of the century led to territorial, but not necessarily cultural and intellectual decolonization. Today, new kinds of imperialisms continue to proliferate. The continued cultural effects of colonialism, both on colonizers and colonized, and the ongoing imperial wars, constitute the field of postcolonial studies. This course is an introduction to the enormously influential field of postcolonial studies. We will study the ways in which postcolonial theory has intersected with and impacted diverse areas of inquiry such as feminism, historiography, culture, and ethnography. At the same time, this course will stress the importance of historicizing postcoloniality. The course will focus on four concerns central to postcolonial studies: the nature of colonial discourse, the strength of postcolonial rewritings, the articulation of revolutionary national consciousness, the relationship of postcolonial studies to feminist theories, and the changing nature of postcoloniality in light of contemporary imperialism and “globalization.” We will read the works of major revolutionaries and theorists and the debates and arguments about these works.

In keeping with the wide range covered by postcolonial studies, the course will engage with a variety of cultural materials: popular films, documentaries, novels, testimonials, political speeches and essays. We will also deal with writings from and about the major parts of the world affected by imperialism: Europe, North America, Asia, Africa, and Central America. A major goal of the course will be to see how postcolonial theory can be instrumental in affecting changes in conditions of oppression today.

Requirements: take home essay exam, a presentation, a paper and some responses.

Possible Texts:


LIT 4535

Women and Popular Culture: Women of the Space Age

Stephanie Smith

From the moment Russia, the former Soviet Union, launched a small satellite named “Sputnik,” in October of 1957, America found itself in a “space-race” with its former WWII ally. Of course, America and the Soviet Union had been locked into a “Cold War” for some time by 1956, but once Sputnik orbited the earth, sending signals home, the two nations engaged in a “space race” to see which nation could reach the moon first. And thus from 1957 until the last man left the moon in 1972, American popular culture became deeply effected by what we now call the Space Age. Of course imagining a “trip to the moon,” is a very old story; but once America decided to put all of its resources into actually going, popular culture followed suit. In this course we will re-examine the popular culture of the Space Age with a particular eye on how women were – and were not – imagined as part of that Age.

We will use a variety of text and media in order to construct a “space-age mythology,” using Roland Barthes’s Mythologies, written during these years, as a written model for understanding how popular culture both constructs and comments upon historical events.

Requirements include a mid-term test and a final project.

Unit Schedule:

  1. Sputnik Years, 1957–1962
  2. Fly Me to the Moon, 1963–68
  3. Lost In Space: The End of an Era, 1969–72


LIT 4930

Blake, Newton, and Disney: Re-Thinking the Myth of Cultural Paradigms

Donald Ault

Though it will deal with many additional related texts, this seminar will use the names (and detailed analysis of the works) of Blake, Newton, and Disney as a springboard to study the extent to which academic scholarship has circumscribed and homogenized fields such as Romanticism, the history of science, and popular culture and has thus been complicit with ways these conceptual myths have reductively circulated through world culture. Each of the figures exemplifies a central – sometimes dominant, sometimes residual – cultural myth: the ideology of the individualized, alienated, anti-industrialized artist (Blake), the ideology of the exemplary scientific mind initiating a breakthrough discovery that constitutes a “scientific revolution” which initiates a new stage in industrialization (Newton), and the ideology of the industrial corporation standing at the forefront of media invention and tapping into “natural” utopian desires of an emerging mass audience (Disney). In each case we will be looking at how these paradigms have come to dominate both popular and academic discourse and the ways in which detailed analysis of actual productions emanating from these and analogous cultural sites can serve to call widespread paradigms into question, just as the issue of “paradigm” itself will come under scrutiny. Additional texts will include other “Romantic” poetry including that of Coleridge, Wordsworth, and Byron, scientific writings, including works by Berkeley, Leibniz, and Voltaire, and productions of other “culture industry” studios such as Warner Brothers. We will be looking at a variety of critical positions that have been taken toward these fields of research.


Requirements: Good attendance, keeping up with the reading (checked by periodic quizzes), participating productively in class discussions, and submitting a final project, which must include analytical dimensions but may involve creative aspects as well.


AML 3271

Survey of African American Literature II

Amy Abugo Ongiri

This course will examine African American literature and culture in relationship to the tremendous social, political, and cultural change that characterized the post-war period. Special attention will be given to the ways in which African American social change movements such as Civil Rights, Black Power, and Black Feminism effect African American cultural production and African American aesthetic practices.


ENL 4311


R. Allen Shoaf

The course seeks to familiarize students with the major poetry of Chaucer in its historical context (primarily, though not exclusively, Troilus and Criseyde and The Canterbury Tales) and to introduce them to the principal methodological issues at stake in the modern study of Chaucer – especially the question of sources, the problem of “translation,” the nature of allusion, the representation of the body, and the status of metaphoric discourse in late medieval poetry.

Attention will also be paid to Middle English as a language, and some effort will be devoted to “performing” Chaucer aloud. (Tapes of Chaucer’s poetry read by professional Chaucerians can be ordered from a non-profit organization; details will be offered in class.) The course is not, however, a course in language as such.


Reserve List

There will be a list of around 20 titles. Students may want to provide their own copies (any edition) of Vergil’s Aeneid, Ovid’s Metamorphoses, The Romance of the Rose, and Dante’s Inferno since limited selections will be assigned from these works (which can otherwise be read in the library).


Spot quizzes (unannounced except for the notice on the syllabus); one modernization quiz (30 minutes); two in-class exams; one paper, 5 pages in length; no final exam; mandatory attendance – the first three absences will be excused, but each absence thereafter, unless excused for extraordinary reasons, reduces your final mark by 10%.