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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.
MTWR 10:15 a.m. – 12:15 p.m.
This class will explore the theories and practice of writing and designing effective technical and business communications/reports in today’s world. Consequently, we will explore the processes for managing information, conducting and reporting research, and situating oneself in professional contexts. The class will not only challenge you to read texts, but also will help you interrogate the main rhetorical demands and the writing/design choices concerning such texts. By the end of the semester, I will have guided you to:
Textbook: Mike Markel. Technical Communication. 9th ed. Bedford. ISBN: 13: 978-0-312-69216-2.
Jillian Hill (firstname.lastname@example.org)
MWTR 5:30 – 7:30 pm
Catalog Description: Study and practice of formal and informal presentation of technical information, with emphasis on report writing.
Course Description: This course aims to accomplish two ambitious goals: (1) immerse writers in current workplace writing practices, and (2) move writers beyond basic skill building and into a more critical consideration of the affordances and constraints associated with workplace writing practices.
Course Structure: This course will begin by exploring the basic rhetorical principles such as audience, purpose, organization, and context. These rhetorical principles will provide structure to the course content as a way of understanding workplace literacy. Building on these principles, students will learn how to engage in a deeper examination of the ways in which the very tools and technologies we use to communicate and compose ultimately have the power to shape the message itself.
MTWR 8:00 – 10:00 a.m.
MTWR 12:30 – 2:30 p.m.
In English 3302 you will learn the theories, principles, and processes of effective written communication in business and technical disciplines. Particular attention will be 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. Course objectives include:
Wayne Schmadeka, Ph.D.
TR 2:45 – 4:45 p.m. (Hybrid – at UHD Northwest); CRN: 30282
Online; CRN: 30292
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, a proposal, a progress report, procedures, and a recommendation report.
Major assignments include writing
Recent examples of reports include
Anderson, Miller-Cochran, Rodrigo, Ogle, and Stokes. Business and Technical Report Writing. Mason, Ohio: Cengage Learning, 2009. ISBN-10:1111632944 (same book as ISBN-13: 9781111632946).
Note: The textbook is currently available through the UHD bookstores at the Downtown and Northwest campuses, but is not yet it available online from the publisher.
MW 12:30 – 2:30 p.m.
This hybrid course offers the opportunity to learn about the current educational crisis in the United States, while at the same time developing your skills in critical writing. Classes will be held in person twice weekly at the Kingwood campus and twice weekly online. We will use the rhetorical form of the essay and the advantages of online use of Blackboard Vista teaching technology to allow students to work at their own speed over the course of the 5-week summer term. Students will execute standard exercises in effective writing from the Faigley writing textbook, and discuss the issues of The Politics of American Education (textbook by Joel Spring), using online chat rooms and in-class discussions. All of the essays will be critical responses to the essays in the Spring textbook. In addition to the four major essays that compose the bulk of the for-credit assignments, we will also compose short written contributions to the discussion, using the online tools. The goals of English 3305 are 1)to improve your skills as a competent writer of essays, and 2) to strengthen your critical reading and thinking abilities, especially about education in America today, a fraught subject.
This introductory course in Shakespeare will study five plays in depth in an effort to give students the opportunity to appreciate the sources for his enduring appeal to generations of readers—and to grasp the danger at times of assuming that Shakespeare thought the way we do today. We want to be cautious as we read him, to consider the words and actions of his characters from different points of view. He turns most readers into fans, but also into active interpreters and critics, people who find new and interesting connections to him. Students will write two responses to short passages, a report on a scholarly article, and a research paper. There will also be a midterm and a final. The five plays are:
You are required to buy the Signet Classic editions of these plays. They come with excellent glosses and recent critical essays, they cost little, and they are readily available from our campus bookstore, local bookstores, and online booksellers.
MTWR 10:15 a.m. – 12:15 p.m.
This course will introduce you to some basic components of creative non-fiction, poetry, and fiction, so that you might get a sense of the genres and find out what you are capable of doing. The course involves a good amount of reading and writing. The one, of course, feeds the other, particularly as you learn to read poems and stories for the pleasures of understanding how they are put together. Good reading will suggest ideas for your own writing. You have very particular ways of looking at—and being moved by—the events of your world. Together with your colleagues in this class, you'll explore varieties of ways to approach your subject.
Required Text: Janet Burroway, Imaginative Writing, 3rd ed.
MTWR 12:30 – 2:30 p.m., rm. A-621
Studies in Poetry is a course in reading and interpreting the widest array of poems possible in a month-long summer course. Interpretations will be both spoken (in class discussions) and written (in three essays of explication—one the final exam—and a fourth longer essay on several poems by a single author and in daily responses on the course website to assigned readings). Because this is not a creative writing class, students will not be writing poems.
This course does not require or assume previous knowledge about poetry. It is designed to introduce students to the basic concepts about how poetry is constructed and how it communicates with readers. The required textbook (Poetry by Michael C. Meyer) will provide all the material students must read (but not restrict them from reading additional poems of their choice and analyses of poems that students may find helpful).
Taking this course will help you appreciate and get comfortable with the subtleties of thought and feeling that literature’s most compressed forms can convey. Address questions to email@example.com or drop by N-1052 to chat about the course.
MTWR 2:45 – 4:45 p.m.
English 3317 seeks to deepen students' understanding of rhetoric by offering a prolonged engagement with specific theoretical principles that relate to the practice of persuasion. Frequent reading from an array of theoretical texts (e.g. Nietzsche, Aristotle, Augustine, Foucault, etc.) will prime students for lively class discussions which serve as preparation for the researched rhetorical analysis that is the culmination of the written work of the course.
MTWR 12:15 – 2:30 p.m.
In this course, students will learn how to analyze and present various forms of medical material to various audiences located in different workplace, cultural, and linguistic settings. Through research projects and analysis of (professional) medical texts, students will learn how to write and design clear, ethical, and scientifically publishable medical essays, articles, and other medical documents. Topics will include, among others, word choice, style, ethics, formatting and citation, and intercultural medical writing. By the end of this class, I will have guided you to:
Mark C. Stuart (Ed.). The Complete Guide to Medical Writing. 1st ed. London: Pharmaceutical Press, 2007. ISBN: 978-0-85369-667-4.
MTWR 5:30 – 7:30 p.m.
This is the course you need to acquire the foundational skills for writing any kind of story for any form of media. We begin with reviewing the basics of clear writing, and then introduce media style and the media writing environment. We apply our skills first to newswriting, the basis for all writing applications, then introduce the major applications: newspapers, magazines, the Web, and public relations. Students have the opportunity to use story-writing exercises to develop skills in each type of writing, while also learning what the public function of the media is in a democratic society (“The 4th Estate”). Finally, legal and ethical issues involved in media writing will be addressed to emphasize the responsibility media writers have to their readers, to the community, and to the wider society. Class activity consists of discussion of news values and regular writing assignments in the various media, with opportunities to revise and edit.
Dr. Vida Robertson
MTWR 2:45 – 4:45 p.m.
This course examines one of the most tumultuous and exciting moments in American cultural history, the "Harlem Renaissance." Through the consideration of literature, history, politics, art, and music, we will probe the impetus behind, the meaning, and legacy of this unprecedented period of artistic experimentation and socio-political activism. The divergent perspectives of African American leaders such as W.E.B. Du Bois, Alain Locke, and Marcus Garvey gave rise to the eclectic nature of "The New Negro Movement." Our class readings will primarily focus on literary texts, with careful and considerable attention given to their historical and political contexts. We will attempt to come to our own understanding of why and when the Renaissance started and ended. We will explore all aspects of the debate about whether it was, as many critics have argued, a flowering of Black art, or whether it was, as others claim, a period when Black artists allowed their work to be appropriated and exploited by mainstream America. Finally, this course will examine the products of the Harlem Renaissance literarily in relation to Modernism, politically in relation to communism, and historically in relation to the “roaring twenties” of the American industrial age.
Dr. Johanna Schmertz
Movie star Marlene Dietrich and film director Josef Sternberg engaged in a creative collaboration that was so symbiotic that Sternberg professed, “I am Marlene, Marlene is me.” Sternberg’s statement suggests that the boundaries between masculinity and femininity are fluid and dialectical. The same may be said about the boundaries between artist and subject. In this course, we will examine some of the Dietrich-Sternberg films. These films privileged style over realism, and they revealed both gender and identity to be constructions: matters of style, masquerade, and performance. With performance as our watchword, we will focus on such traps and trappings of gender as costume, props, mannerisms, and how they create the whole mise-en-scène of sexuality and desire. We will frame our readings of the primary texts (the Dietrich-Sternberg films) with a selection of both introductory and more theoretical readings on feminist theory, queer theory, and psychoanalysis.
Materials you’ll need to buy before the course starts are Marlene Dietrich: The Glamour Collection (DVD)—especially Blond Venus and Morocco, contained on the DVD—and Feminine Sexuality: Jacques Lacan and the École Freudienne, edited and with introductions by Juliet Mitchell and Jacqueline Rose. Additional required readings will be made available on Blackboard Vista. Coursework includes a test the first week to make sure you have access to all the materials needed for the course, regular contributions to questions posted on the Blackboard Vista discussion board, an essay midterm exam, an annotated bibliography, and a final paper based on the annotated bibliography. I recommend you also see either Scarlet Empress or Blue Angel as well—they are not in The Glamour Collection. Be aware that since this is a summer course, things will move quickly, and since this is an online course, you will need to be able to work independently. Be sure to schedule sufficient time for seeing the movies, reading the readings, contributing to discussion questions, and writing the midterm exam and final paper.
The course counts toward both the film studies and gender studies minors.
Last updated or reviewed on 4/12/11