- About UHD
- Distance Education
- Financial Aid
- Student Life
The following page is a blank template with a header that contains a quicklinks jump menu and the search UHD function. Page sections are identified with headers. The footer contains all required links, contact and emergency information.
Please note: the following list is subject to change and may not be comprehensive. Please check the online course listing for the full roster along with information on class days/times and room numbers. The course location is at UHD Main Campus unless otherwise noted.
M 8:30 - 9:45 a.m., room N637 (CRN: 11640)
T 10:00 - 11:15 a.m. room S1099 (CRN: 11642)
Three credit hours of English literature.
Students will study and practice writing the types of documents frequently used in the workplace, including cover letters and resumes, proposals, progress reports, formal reports, and PowerPoint presentations.
Research, design, create and prepare informal and formal documents suitable for the workplace
Balance visual and verbal elements of communication in documents and oral presentations
Use current technology to search for and report information
Edit documents for correctness
Respond usefully to others' writing
Major assignments include writing
Cover letters and resumes in response to job announcements
A proposal for a recommendation/feasibility report
A progress report
A recommendation/feasibility report
Recent examples of reports include
Recommending implementation of JROTC programs at HISD junior high schools
Evaluating whether it is better for a student to remodel her existing home or build a new home
Recommending enhancements to security for UHD students, staff, and faculty
Recommending expansion of recycling in Houston
Jones, D., and Lane, K. Technical Communication. 7th ed. New York : Pearson Education, 2002. ISBN: 0205325211.
Much of the work for these hybrid courses will be done online. It will be helpful to have Internet access from wherever you plan to complete most of your coursework.
MW 10:00 - 11:15 a.m. (CRN: 10815)
MW 11:30 a.m. - 12:45 p.m. (CRN: 10816)
In English 3302 you will learn the theories, principles, and processes of effective written communication in business and technical disciplines. Particular attention is given to the major strategies for composing business and technical discourse, techniques of analyzing audiences and writing situations, and methods for organizing data and information.
Dr. Adam Ellwanger
MW 1:00 - 2:15 p.m. (CRN: 11458)
MW 5:30 - 6:45 p.m. (CRN: 11459)
English 3305 is both a study of the rhetorical form of the essay and a workshop in which you will hone your skills as an essayist (and, more broadly, as a writer). Over the course of the semester, we will emphasize the links between being a good reader and being a good writer: all of the essays you write will be critical responses to the essays we read as a class. The essays that you will be asked to read will be fairly difficult; however, you will have the opportunity to read them each a number of times (and to modify your responses to the texts with each reading). In addition to the four major essays that you will write and revise, you will regularly compose short writing assignments in and out of class. Ultimately, the goals of English 3305 are 1) to improve your skills as a competent writer of essays, 2) to strengthen your critical reading and thinking abilities, and 3) to equip you with a set of practices and routines that will enable you to meet the needs of a variety of writing situations.
TR 5:30 - 6:45 p.m.
This introductory course in Shakespeare will confront obstacles that often prevent contemporary readers from enjoying and understanding his plays. Since Shakespeare’s Early Modern English is for many people initially troublesome and intimidating, we will study in depth only five of his mature plays and make use of recordings, films, and classroom performance. A further difficulty for modern readers is to understand the historical, cultural, and literary contexts that would have been familiar to Shakespeare’s audience. These intellectual frameworks, as we will see, do not provide anything like a definitive reading of Shakespeare but rather open doors for responsible, creative interpretation, criticism that is responsive to the ideological ferment of Shakespeare’s time and to similarities and differences between his time and our own. Students will write two two responses to short passages, a four-page interpretation of a topic in one play, a proposal/annotated bibliography, and a eight-to-ten-page research paper. All of these assignments will be grounded in a close reading of Shakespeare’s language and your knowledge of his historical milieu. There will also be a midterm and a final. The five plays are As You Like It (Penguin/Signet Classic/Mass Market, ISBN 9780451526786), Twelfth Night (Penguin/Signet Classic/Mass Market, ISBN 9780451526762 ), Othello (Norton Critical Edition, ISBN 978-0393976151), Hamlet (Norton Critical Edition, 2nd ed, ISBN 978-0393956634), and King Lear (Norton Critical Edition, ISBN: 978-0393926644).
Dr. Caroline Kimberly
MW 7:00 - 8:15 p.m.
“If I read a book and it makes my whole body so cold no fire ever can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?” – Emily Dickinson
What makes poetry “poetry”? How has poetry changed over the years? Does it speak to the heart or to the head? Can it address both, and if so, what tools can we use to understand it more easily? This class will serve as an overview of the poetic form as a literary genre, giving students both the tools and the historical context necessary to better understand poetry on a variety of levels. Most importantly, this course hopes to make poetry more accessible and interesting to the student, both through an analysis of content and study of the poets themselves. From the beginnings of poetry written in the English language and continuing through the twenty-first century, we will cover both British and American canonical poetry and noncanonical authors of increasing importance. Course requirements will include class discussion and in-class work, in-class presentations, essays, and a midterm and final exam.
Dr. Paul Kintzele
TR 8:30 - 9:45 p.m.at UHD Northwest
"When I started to write, the idea was very small, just an image, not an idea actually. A man who is 30, cooking spaghetti in the kitchen, and the telephone rings -- that's it. It's so simple, but I had the feeling that something was happening there." --Haruki Murakami
This class will focus on the distinctively modern literary genre of the short story. We will read a variety of examples, starting from the early 19th century, and as we move forward chronologically and expand out geographically, we will see how new generations of writers tailored the genre to fit their needs. We will investigate why short stories emerged in the way they did in the 19th and 20th centuries, as well as the particular challenges of writing in this format. In order to provide students with a conceptual foundation in the study of fiction, this course will offer introductions to several common critical methodologies, including narratology, psychoanalysis, and various sociological schools of criticism. To instill the habit of attentive reading, there will be special emphasis on the late structuralist analytical method of Roland Barthes, as demonstrated in his book S/Z. Authors may include: Balzac, Chekhov, Poe, Melville, Kafka, Joyce, Woolf, Wright, O'Connor, and Murakami. Requirements: three essays and weekly quizzes.
The Art of the Short Story. Ed. Dana Gioia.Longman. ISBN: 0321363639.
Roland Barthes. S/Z. Hill and Wang. ISBN: 0374521670.
Edgar Allan Poe. The Fall of the House of Usher and Other Writings. Penguin. ISBN: 0141439815.
Flannery O'Connor. The Complete Stories. Faber. ISBN: 0571143806.
Murakami, Haruki. The Elephant Vanishes. Vintage. ISBN: 0679750533.
TR 8:30 - 9:45 a.m.
Oscar Wilde wrote that to create art is to lie. That is, when one creates a piece of literature (a story), one is taking some truths, distorting them, infusing one's style (and worldview) into them, and creating a startling, provocative, and beautiful un-truth. We will begin our study of drama with one of Wilde's plays together with his writings on the theater and on art. We will then survey various eras and cultures through plays, from the ancients, to the modernists, to the present.
Moreover, we will live the theater. We are going to institute an in-class (and extra-curricular) Readers' Theater, something I have already begun this semester. Without memorizing plays, and with minimal preparation, we will enact scenes with students assuming various roles, including being the director.
Dr. Nicole LaRose (firstname.lastname@example.org)
In George Orwell’s classic dystopian novel, 1984, Winston and Julia conduct a clandestine romantic relationship in the English countryside, believing they have escaped the gaze of Big Brother. In the more recent dystopian film, Children of Men, Theo Faron and Kee journey to the Human Project, a humanitarian group that travels around on a ship called The Tomorrow. Theo and Kee, like Winston and Julia before them, hope to escape the oppressive, militaristic world that London has become. The search for an ideal place and ideal way of living in a world of utter danger, destruction, and control is a basic human desire, but it is also at the heart of utopian thought. This class will study the development of utopian thinking from Plato’s Republic and Genesis to Thomas More’s definitive political writing, Utopia, before studying the representations of utopias and dystopias in science fiction writing from North America and Europe.
In addition to the authors mentioned above, we may also discuss works by Edward Bellamy, William Morris, Yevgeny Zamyatin, Sandra Perkins Gilman, Marge Piercy, Ursula Le Guin, Margaret Atwood, Octavia Butler, J.G. Ballard, China Miéville, and Alan Moore. We will focus mostly on novels, but we will also cover at least one film and one graphic novel. Additionally, we will read scholarly and theoretical essays on utopia and dystopia.
Students will be required to write a few informal response papers, one short close-reading essay, one longer research-based essay, and a final exam.
MW 7:00 - 8:15 p.m.
“Do you know what your blue jeans are doing to you? What kind of a person do you turn into when you go to shopping malls?” asks Barry Brummett, a UT rhetoric professor. These are the kinds of questions that the study of rhetoric can answer. Inasmuch as the field of rhetoric concerns itself with often obscure motives, economic and social imbalances, and the way power is distributed in society, this course covering rhetoric’s history in western civilization explains how its study can offer students unexpected insight into economic and political behavior. The course surveys rhetoric’s emergence over the past 2,000 years and focuses on its place in the 21st century, and on how its study can help us better understand and explain current developments in the public sphere.
Dr. Karina Stokes
MW 1:00 – 2:15 p.m.
This course will provide a lively and interactive way to achieve two main goals:
This class will help students understand the meanings behind the words in office talk, in interpersonal communication, and in the television, radio, and print messages that are important for being well-informed citizens and consumers. This class will help students write cogent answers to essay questions on tests as well as persuasive professional communication on the job.
• learn a range of major theories of rhetoric and critique the functions and effects of at least one major theory
• explain the cultural significance of discourse
• analyze rhetorical situations in the discourse of others and oneself
• analyze and employ rhetorical strategies and theories in identified communication situations
• produce cogent writing in order to effectively persuade a target audience
Assignments will include: group discussions and presentations, a few short essays, and one major writing assignment designed to guide students, in a step-by step fashion, through the process of learning how to analyze situations, develop ideas, find supporting evidence for ideas, and express thoughts clearly. Upon completion of this course, students will be better listeners, more critical thinkers, and more effective communicators.
This course is a learning opportunity for anyone who wants to think and analyze more clearly and communicate more persuasively and effectively.
TR 2:00 - 3:15 p.m. (CRN: 11790) at UHD Northwest
MW 10:00 - 11:15 a.m. (CRN: 11484) Downtown campus
MW 11:30 a.m. - 12:45 p.m. (CRN: 11479) Downtown campus
Martha Kolln (2006) points out that many speakers of English equate grammar with morality. The purpose of this course is to help students achieve a clearer perception of what the grammar of English is in actuality: a set of rule-governed behaviors similar in nature to other social sciences. This 3-credit-hour course in an intensive survey of the principles and problems of English Grammar. We begin by developing fluency in the vocabulary that is specific to a discussion of grammar and syntax. In addition, focus is placed on how to apply these principles to teaching and to studies in bilingualism. Error analysis is addressed from a structural point of view.
Learning grammar is not about learning to understand what sentences mean. Rather, grammar study is about learning how meaning is conveyed through a range of sentence structures and patterns. Our bodies obey the laws of physics and chemistry without our conscious knowledge. Likewise, our minds understand the rules of syntax perfectly. If grammar seems difficult to you, it is because you are applying new terminology to concepts you learned so long ago that you no longer remember the steps in the acquisition process.
Upon completion of this course, students should demonstrate
a) ability to articulate the goals of prescriptive as well descriptive grammar,
b) knowledge of the terminology of grammar and writing,
c) fluency in this terminology,
d) ability to find, correct, and explain common errors in language use,
e) application of basic language analysis skills to words and sentences,
f) ability to generate sentence trees using basic principles of phrase structure theories,
g) proficiency in exploiting corpus-external and corpus-internal evidence to explain how meaning emerges from structure.
Dr. Jane Creighton
MW 10:00 - 11:15 a.m.
This course is a study of Mexican-American literature and its cultural traditions from pre-Columbian Mexico to the present. Starting with Aztec accounts of the Spanish conquest, we will look closely at how Mexican-American novelists, poets, and scholars have represented compelling social conflict at the same time that they have created a literature rich both in tradition and in the unexpected. From the Aztec survivors of the fall of Tenochtitlan to contemporary writers such as Helena María Viramontes, we will track major themes in the evolution of this vital literature.
T 4:00 - 5:15 p.m.
Three credit hours of English literature.
Application of general rhetorical principles and current theory in document design to the development of procedures manuals and other documentation.
Learn to prepare and evaluate documents that guide people in using products and tools, carrying out procedures, making organizational decisions, establishing and maintaining order in organizations, and more.
By the end of the course, students will be able to:
• Distinguish between policies and procedures and explain their relationship
• Identify the needs of specific audience(s) in writing, designing, and organizing policy and procedure documents
• Develop research strategies needed to write and policies and procedures
• Apply usability testing concepts and methods to evaluate user documentation
• Create and apply style guides that govern text, graphics, and design features
• Use software authoring tools to satisfy documentation needs
• Write user-friendly policies and procedures
Wieringa, Moore, and Barnes. Procedure Writing: Principles and Practices. 2nd edition. ISBN: 1574770527.
TR 5:30 - 6:45 p.m.
This course takes an in-depth look at critical environmental issues and how they are communicated and understood through the mass media. As more and more people are learning, the world seems to be approaching a crisis point as a result of population and economic growth, ever-increasing carbon emissions, and the vast and burgeoning amounts of energy we will need to support our consumer-based lifestyles in the future. The BP oil well gushing into the Gulf of Mexico is one potent sign that increasing energy consumption carries serious environmental risks that may negatively affect our future. At the same time, the Third World is developing a far larger market and demand for the very things we take for granted, and the earth’s resources are increasingly recognized as being finite. In this course, we will examine varying environmental perspectives, the role of media, and the avenues through which citizens can participate in environmental policy decision-making. We will rely on Hendry’s text, Communication and the Natural World (2010) for a contemporary, cutting-edge resource. Students will have the opportunity to respond to environmental issues in class and improve their skills at formulating and articulating their perspectives.
Dr. Sucheta Choudhuri
TR 10:00 - 11:15 a.m.
The term “postcolonial” may suggest a point in time beyond the cessation of colonial control; in reality, it refers to a continuum of awareness—during and after colonization—of the power dynamic implicit in the colonial situation. One way of understanding this dynamic is through the binary of the Self and the Other. Colonialism is, in essence, a cultural confrontation that compels both the colonizer and the colonized to perceive themselves in relation to each other. The justification of colonial subordination is often based on a negative projection of the colonized “Other.” How do postcolonial cultural texts respond to this “othering?” In imagining a unique identity for the postcolonial nation, do these texts merely try to resist negative representations by finding an “independent” voice, or do they also give expression to the cultural hybridity that is an inalienable part of colonial legacy? How do the issues of race, class, language, gender and sexuality complicate these endeavors? Does the boundary between the Self and the Other become destabilized in the process? These are some of the questions we will explore in this course, with reference to literary texts from three former colonies of the British Empire: India, Africa and the Caribbean.
Texts include Jean Rhys’s Wide Sargasso Sea, J.M. Coetzee’s Waiting for the Barbarians, Arundhati Roy’s The God of Small Things, Kiran Desai’s The Inheritance of Loss, and selected theoretical works by Homi Bhabha, Edward Said, Frantz Fanon, Benedict Anderson, Partha Chatterjee and Chandra Talpade Mohanty. We will also examine Bollywood cinematic productions (Ashutosh Gowariker’s Lagaan and Rakeysh Omprakash Mehra's Rang De Basanti) to understand how popular cultural imaginings of the postcolonial nation also enact this tension between hybridity and a “pure” national culture. Coursework will include in-class discussion, a close-reading paper and a research project.
MW 1:00 - 2:15 p.m.
English 3343 is a creative writing course and the first to be offered from a sequence of new courses designed to support the English Department’s new Creative Writing Minor. The minor includes three new genre workshops—in poetry, fiction, and creative nonfiction. This first genre workshop involves the study of poetry and poetics from the perspective of one who wishes to improve his or her craft as a practicing poet. Our emphasis will be upon students’ own writing, though we will also approach the writing through becoming better readers of poetry, particularly contemporary verse. Poet and newly appointed Chancellor of the Academy of American Poets, Marie Ponsot, said in a recent interview: “There is a very serious reason for poetry: it takes us back to our most primitive language cells. Poetry comes first, historically. Ten thousand years before you have prose, you have poems. [Poetry is] a place to look for ways toward truth. By truth, I mean a correspondence in what we perceive with our bodies and what we think in our heads, and when those start to match, you’ve got something that I like to think of as truth.” It is this ability, this willingness, to say one authentically true thing that we will seek in our exploration of poetry in this course. And in so doing, I am confident we will discover delight and a trustworthy community of readers for our work. We will also discuss the publication process both in print and online, and we will explore the ways in which poets and writers use poetry in the teaching of writing in elementary and secondary school classrooms—with Writers in the Schools-Houston as our model (www.witshouston.org). For more information on this new course, contact Dr. Davidson at email@example.com .
Course Texts: The Working Poet (Autumn House Press, 2010), Grave of Light: New and Selected Poems by Alice Notley (Wesleyan UP, 2008), Nox by Ann Carson (New Directions, 2010), Heredities: Poems (Walt Whitman Award) by J. Michael Martinez (LSU Press, 2010), Collected Poems of Theodore Roethke (Anchor Books, 1974).
Dr. Chuck Jackson
MW 5:30 - 6:45 p.m.
This course is designed to introduce students to a scholarly understanding of film as technological medium, narrative form, and cultural production. While the course is required for students interested in completing the UHD minor in film studies, it is also open to anyone interested in rounding out their degree plan – English or otherwise -- with an elective that emphasizes critical thinking about spectatorship, visuality, and narrative. The course will begin by teaching students the basics of film study. This includes the naming of shots, cuts, and transitions; the identification and analysis of sequences; and the description of how graphics, set design, depth, color, costume, make-up, lighting, and other technologies enhance mise-en-scene. The course also introduces students to the conventions of classic Hollywood cinema, variations of genre, and avant-garde experimentations with narrative form. Armed with this knowledge, students will read about different kinds of film theory (including formalist, semiotic, historicist, deconstructionist, Marxist, feminist, queer, and critical race theories) and, choosing one, write a longer research-based paper at the end of the term.
While clips from a number of films will be used to demonstrate formal concepts or interpretive practice, there will be required screenings of at about five films in class and probably two or three on your own, outside of class time. I have not decided on a final list of films required for the course, but students can expect to screen work by any of the following directors: Robert Wiene, F.W. Murnau, Luis Bunuel and Salvador Dali, Charlie Chaplin, King Vidor, Howard Hawks, Orson Welles, Billy Wilder, Maya Deren, Douglas Sirk, Alfred Hitchcock, Tobe Hooper, David Lynch, Jennie Livingston, Jane Campion, Spike Lee, Ang Lee, and Todd Haynes. Since multiple viewings are mandatory for scholarly analysis, students are required to be present for those we watch together in-class. Final grade will be calculated based on class participation, tests, mid-term and final exams, several short essays, and one long, research-based essay.
Required Text: Dick, Bernard. Anatomy of Film. 6th Ed. New York: Bedford/St. Martin’s, 2010 and any essays put on reserve. Students should set up a Netflix account.
Dr. Sandra Dahlberg
MW 1:00 - 2:15 p.m.
►Why was Joan [the] Whore (above) supported by her neighbors?
►Why was 12 year-old Richard Frethorne sent to his death in Virginia?
►Why was Hannah Dustin considered a “war heroine” in 1675?
►Why was Opechancanough labeled as a traitor?
Whose narratives are privileged today? Whose are ignored? Why and how do we make these distinctions, and what do these narratives say about our lives in 2010?
In this course you will conduct a hands-on assessment of the dynamic colonial cultures of the United States through cross-cultural depictions of contact, conquest, and colonization in the writings of Indians and Europeans. You will explore such concepts as race, sovereignty, gender, class, and the role of mythmaking in acts of self-representation—and have opportunities to work with unpublished, original documents. These texts invite a lively investigation into our national past and on present constructions of U.S. culture.
Readings include works by Powhatan, John Smith, Mary Rowlandson, Samson Occom (Mohegan), John Killbuck (Delaware), Mary Jemison (Seneca), Benjamin Franklin, and Hector St. John de Crèvecoeur, as well as a selection of historical and theoretical texts. Major assignments: a short analytical paper, a literary research paper.
Prerequisite—3 hours of literature
TR 10:00 - 11:15 a.m.
A study of techniques and methods of public relations in promoting the images of organizations, corporations, and institutions, both public and private.
Wed. 5:30 - 8:15 p.m.
Advanced Medical Writing will enable students to write and publish articles in professional journals as well as translate technical/scientific documents into educational/informative materials which are accessible to non-technical audiences. While the focus in this course will be researching and writing medical articles, patient education materials, and medical grant proposals, students may also examine documents like letters to potential donors for fundraising purposes and writing clear assessments of scientific discoveries for popular magazines and for policymakers. Students will gain a basic understanding of the significance of statistics, plain English editing, and using medical citation style. In addition to being qualified for lucrative employment in the field of medical writing, this course will prepare students to produce research/thesis proposals, conduct valid research, present basic analyses of data, and edit a variety of technical documents.
Last updated or reviewed on 8/2/10