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Registration: Interim

Interim 2010


W10 C.S. Lewis's Apologetics.  A close examination of the core works of Lewis’s apologetics—The Screwtape Letters, The Great Divorce, The Pilgrim’s Regress Mere Christianity, and  The Problem of Pain.    Since Lewis also dramatized his beliefs in fiction, we will read  one or two novels. Student evaluation will be based on reading quizzes, regular attendance, group projects, and journaling.  J. Timmerman.  8:30 a.m. to noon.

W11 Southern Storytellers.  In this course, students will be introduced to some of the most influential voices in Southern storytelling through interaction with select novels, short stories, films, art, and music. The course’s primary questions are: how does the unique texture of the Southern experience lead to a particular type of storytelling?  What type? In attempting to respond to these questions, students will investigate the complex interrelationship between the development of regional history and the formation of cultural identity in the form of storytelling. Particular attention will be given to the interweaving of religious experience, class consciousness, and racial conflict into the fabric of the “Southern story”. Class sessions will be a combination of lecture and discussion on the various forms of storytelling. The reading, viewing, and listening list will include: short stories by Flannery O’Connor, Richard Wright, Katherine Anne Porter, and Ernest Gaines; William Faulkner’s As I Lay Dying; art by Howard Finster; music by Will Oldham, Robert Johnson, Elvis, R.E.M., Otis Redding, and Hank Williams, Sr.; and the films Junebug (Phil Morrison) and Cookie’s Fortune (Robert Altman) . Evaluation is based on journal entries, class participation, an essay, and a course project. M. McCampbell.  2:00 p.m. to 5:00 p.m.

W12 Native American Lit. This course will focus on oral traditions and the later narrative, prose, and poetry of Native (North) Americans. Students will learn of the richness and diversity of various American Indian peoples, traditions, and beliefs as well as similarities in themes and storytelling styles. The literature will be examined in relation to the values (including Christian) and “history” of dominant Anglo culture, which the voices of the authors resist, affirm, and/or illuminate. Students will thereby better understand American literature and history and the role Christianity played and continues to play in Native American identity. Readings will include, among others, the writings of Occum, Appess, Zitkala-Sa, Waters, Momaday, Erdrich, Harjo, Alexie, and Silko. Students’ performance will be assessed through evaluation of quizzes and worksheets, a group presentation, and a critical paper. L. Naranjo-Huebl. 2:00 p.m. to 5:00 p.m.

W40 African American English & Its Culture.  This class will focus on a variety of English spoken by many African Americans: African American English. Through daily exercises students will learn linguistic tools for analyzing the sound, structure, and meaning of African American English.  Through class lecture, group discussion, and local field trips, they will learn more about the history of this variety and how  this variety shapes popular culture and the social interactions of Americans. Student evaluation will be based on short quizzes, short exploratory essays and one presentation to the class. This course may fulfill an elective in the English major, the Linguistics, ESL and English minors. A. Kortenhoven, E. Vander Lei.  8:30 a.m. to noon.

W41 Dostoevsky. This course explores the ways in which the fiction of Fyodor Dostoevsky handles  faith and doubt. Drawing from the theoretical works of Mikhail Bakhtin and  Rowan Williams’s recent book Dostoevsky: Language, Faith and Fiction, students will discover the unique ways in which fiction is able to present spiritual concerns not as abstract ideas or theological arguments, but as part of the concrete, organic experience of everyday life. Students read Notes from Underground, Crime and Punishment, and The Brothers Karamazov in addition to supplementary material from the authors mentioned above. Students are evaluated on daily quizzes, brief written assignments, and participation in a group project. This course may fulfill an elective in the English major. C. Engbers.  8:30 a.m. to noon.

W42 Nothing New Under the Sun: Tellings & Re-tellings. Why is it that some stories fascinate us, refusing to go away? What makes us not only continue to pore over the original tale, but refashion this original, altering it in the retelling?  In other words, what earns a story a long half-life, full of telling and retelling?  What entices us to return to certain foundational narratives over and again?  And when we retell a foundational narrative, is what we are doing forging an interpretation of the “original” story? Perhaps retellings possess their own originality too?  How, then, do we interpret them?  This course investigates these questions (and many others) by asking students to reexamine the original versions of several foundational narratives—including from the Bible, from Greco-Roman mythology, from fairytale—as well as their retellings in fiction and film, lyric poetry and popular culture (including a Simpson’s episode).  Student evaluation is based on daily reading, response papers, and a final creative project. This course may fulfill an elective in the English major.  J. Holberg.  8:30 a.m. to noon.

W43 Women of the Left Bank: 20th Century Modern Women Writers. The literary life of Paris between 1900 and 1940 was equally marked by both its intellectual fervor and its giddy self-indulgence.  Perhaps even more remarkable is the contribution of women to this heady mix. Following Shari Benstock’s survey, Women of the Left Bank: Paris: 1900-1940, this course will not ask “What was it like to be a part of literary Paris?”  Instead, we will ask “What was it like to be a woman in literary Paris?”  We will look at a number of women whose contributions illuminate aspects of Modernism that are often overlooked by standard accounts.  We will study women who participated in Paris life through a number of venues -- writers, publishers, book sellers, and salonières -- in order to question how these women positioned themselves as both women and intellectuals in Paris, charting, as Benstock does, “experiences that were significantly different from those of their husbands, brothers, and male Modernist colleagues.” Student evaluation will be based on three 1 page close readings and one 5 page paper. This course may fulfill an elective in the English major.  J. Williams.  8:30 a.m. to noon.

W44 Writing for the Child, Middle Grade, & Adult Reader. In this workshop, students write short works for child, middle grade, and young adult readers.  They focus on several genres for these three audiences:  poetry; realistic, fantastic, or historical fiction; and nonfiction. Students read examples of all of these genres for all three audiences, as well as critical pieces about writing by established writers for children. Editors visit the class as guest speakers. Students are expected to see themselves as writers in the vocational sense of the word, so they should plan to write extensively, to critique each other's work, to make presentations about their work, and to think about issues of publication. Students should come with a willingness to take risks, to accept criticism, and to work hard. Evaluation is based on participation and on the portfolio that the student will take from this experience.  This course may fulfill an elective in the English major and the Writing minor.  D. Hettinga, G. Schmidt. 8:30 a.m. to noon.

W45 Human Creativity & the Literary Arts.  This course is designed for, but not limited to, writers interested in exploring the creative process as well as looking for inspiration for their art. Throughout the course, students investigate answers to a variety of questions: What is the source of human creativity and how do writers tap into it? What can be learned from pioneers in and outside the literary arts—their methods, their studios, their habits of thought? What does creativity have to do with godliness? The primary text for the course is Peter Turchi’s Maps of the Imagination: The Writer as Cartographer, but students watch and discuss documentaries of various artists reflecting on their art—architects such as Frank Gehry, musicians such as Les Paul, photographers such as Annie Liebovitz, and others. The course approaches creativity in a multi-sensory, multimedia way. Class periods not only provide opportunities for the mind to roam in conversation but also hands-on exercises, mini-field trips, and invitations to play. Throughout the course, students reflect, dabble, scheme, and dream in a sketchbook—blank pages for their observations, questions, and creative responses, including the rough beginnings of stories, poems, or compositions. Students will be evaluated on the quality of the sketchbooks (25 page minimum) and a short reflection paper on the creative process (4 page minimum), as well as their level of engagement with the assigned readings and class activities. The ultimate goal, then, is that the course will serve as a hothouse for student creativity.  The course counts as an elective in the writing minor. L. Klatt.  2:00 p.m. to 5:00 p.m.

W80 Boxes of History: Using old words to write new stories. This workshop leads students through the process of researching, writing, and publishing works of historical fiction. Students read two novels, as well as a number of essays that address the challenges for authors who use elements from history to write for a contemporary audience. Class time consists of lectures, discussions, research, and composition. Additionally, the class views films and video clips that illustrate how critical the setting, dialogue, plot, and characters are in creating a world from the past that reflects issues faced by the modern reader. Students complete several small writing exercises and then do extensive research for writing a chapter or short story—for adults or children—in the historical fiction genre. Students learn to review and edit one another’s work. Evaluation is based on the students’ portfolios of course assignments and on the students’ participation in the readings and discussion. This course may fulfill an elective in the English major and in the writing minor. Prerequisite: ENGL 101. Fee: $125 (Chicago Field Trip) N. Hull. 8:30 a.m. to noon.

339 English Grammar.  A study of traditional grammar, focusing on its history, its system, its applications, its competitors, and its place in the middle-school and high-school classroom; special emphasis will be given to the system and terminology of this grammar.  Student work will be evaluated by means of daily assignments, in-class projects, a test, and a short paper. This course may fulfill an elective in the English  major. B. Vande Kopple, J. Vanden Bosch.  8:30 a.m. to noon.

IDIS W22 An Inside Look at the January Series.  R. Honderd, K. Saupe.