Number Section Title Instructor

1010 sect. 2-22 Coll Comp/Rhet Staff

English 1010 is designed to prepare students for the types of writing expected at UW. At the end of the
semester, students should be able to complete an expository and a research essay that reflect
students' own point of view and that demonstrate thoughtful engagement with complex readings at
some length. In order to do that, we will work with the types of texts common in the University and
use these texts as evidence to support students' own argument. To get to this larger goal, English
1010 focuses on three smaller goals: read extended expository writings from a range of disciplines by
area experts who are writing for a non-specialized audience write summaries, synthesis, and analyses
of these texts use these texts as support for your own argument We will pursue these goals in all of
the essays throughout the semester.

1010 23 Coll Comp/Rhet Stewart

Stretch 1010: Contact Joyce Stewart (JoStewar@uwyo.edu) for information.
1040 1 Intro to Creative Writing Watson
This course will cover three genres: poetry writing, creative non-fiction writing, and fiction
writing. Each week will involve reading and discussion, in-class writing and out-of-class
writing. Students will produce 5 original poems, short-form and a full-length creative essay,
short-form and one full-length (6-8 or 10 pages) short story. There will be some imitation work
to help students jump-start their exploration of the genres.
1080 1 Intro Womens Studies Harkin
Crosslisted with: WMST1080 (0X)
1080 2 Intro Womens Studies Harkin
Crosslisted with: WMST1080 (U7)
1080 4 Intro Womens Studies Ramirez
Crosslisted with: WMST1080 (4C)
2005 1 Writing in Tech & Sci Fisher
ENGL 2005 develops writing styles and techniques, document design and formatting skills, and
audience/readership considerations that are specifically relevant to technological and scientific fields
of study. This special food-themed section provides you the opportunity to expand your knowledge of
food from a variety of angles, including: food production, health and nutrition, ecology and energy,
community and culture, economics, and ethics. In this class, youll have the chance to explore paired
readings, hear from experts and other guest speakers, conduct your own research, and ultimately
develop the tools to become a smarter and more active participant in the food system.

2005 2 Writing in Tech & Sci Galbreath

Reserved for ME or ESE students only; This course develops writing styles, writing techniques,
document design and formatting strategies, and audience/readership considerations that are
specifically suited to technological and scientific fields of study. The course concludes with a
comprehensive, student-directed long form report. NOTE: Concurrent enrollment in a laboratory or
field study course is strongly urged. NOTE: Computer classroom section. Please contact Mechanical
Engineering.
2020 sect. 1-7 Intro to Literature Staff
Prerequisites: WA; Sophomore Standing. This course fulfills the University Studies WB requirement.
Literature shows us language in its most beautiful form, exposes us to new experiences and ideas, and
teaches us to understand and question our world. In this class, we will read literature from around the
world, and through discussion and writing, explore the many meanings presented. Varies by
instructors.
2035 1 Writing Public Forums Stricker
Prerequisite: WA
2035 2 Writing Public Forums Heaney
Prerequisite: WA
2050 1 CW:Fiction Bergstraesser
Prerequisite: WA. This course is designed to help you craft various works of short fiction. In addition
to in-class writing exercises, creative assignments outside of class, and discussions, we will critique
each others writing in a constructive workshop atmospherethereby developing useful feedback
skills. Through lecture and discussion, we will explore the technique and devices involved in creating
fiction: plot/structure, character, setting, point of view, theme, style, and several others. We will read
and discuss the short fiction of many different writers, using their technique and content as a guide for
our own writing.
2060 1 CW: Intro Non-Fiction Fitch
This course will focus on clarifying your writing and sharpening your analyses. At the same time, we
will examine a diverse group of writers response to a specific geographical place (New York), and I will
be curious about your own experience living in and/or moving to Wyoming. We will also examine
audio and video work by contemporary musicians, poets, and filmmakers, and I will ask you to respond
to these non-literary works in your writing. Assignments will include in-class writing exercises, and
personal essays that respond to course texts. Much of our class time will be devoted to individual
presentations and small-group writing workshops. Consistency is requiredboth in attendance, and in
your assignments. By the semesters end, you will have been well exposed to the rigors of essay
writing (and rewriting), and will have experimented with more expansive, interdisciplinary forms.

2080 1 Creative Writing Intro Poetry Northrop

Analyzes forms of poetry and practice of creative writing at introductory level. Prerequisite: WA.

2360 80 Mexican American Literature Fonseca

Crosslisted with: CHST 2360 SPAN 3990 (2V), Video Conf.
2410 1 Literary Genres: Fiction Pexton
English 2410: Literary Genres has been approved for University Studies Program credit within the
Humanities (CH) and as a mid-level writing course (WB). In this course students will learn to
understand and to think clearly about important human beliefs and imaginative ideas, as well as the
texts that embody or examine those beliefs and ideas. Our texts will be a range of short stories by
classical and current writers. Our goal is to analyze them and the ideas they represent as fully and
complexly as possible. As a WB course, English 2410 requires students to accomplish a variety of
writing assignments that will develop skills incorporating research; thinking about audience;
collaborating; drafting and revising; developing and supporting an argument. Our emphases will be on
1) writing to learn within the context of short fiction; and 2) the pleasures of reading, researching,
and writing. Several people, including your peers and me, will read the writing you do for this class.
2425 1 Lit in English I Anderson
Prerequisite: WA
2425 2 Lit in English I Croft
Prerequisite: WA
Students in this class will first explore the early genres of English literature that predate the popularity
of the novelallegories, epics, sonnets, satires, lais, fabliaux, and popular drama, among others. We
will then end the course with one of the earliest and most controversial English novels, Samuel
Richardsons Pamela.

The emphasis in this course will be less on the iconic status of great authors and more on the literary
traditions and cultures that make their works meaningful. Special attention will be given to poetic
genres, not only because most pre-modern literature is poetic but also because students of English
literature should acquire the skills needed to read and analyze poetry. Students will be encouraged to
set aside modern assumptions about literature and enjoy the treasures of the past. They will be
expected to read closely and critically, to learn some basic formal principles of early literature, to
become familiar with the cultural conditions of early literary production, and to recognize a variety of
genres and styles.

Requirements will include three short response essays, weekly quizzes, a final exam, regular
attendance, and active participation in discussion and classroom activities.
2430 sect. 1-2 Lit in English II Holland
ENGL 2430: This sophomore-level survey of literature in English, 1750-1865, examines texts produced
during some of the most tumultuous, revolutionary times in Western history. The questions being
hotly debated then shape the way you think today. Fundamental philosophical issues were being
investigatedin writing, in lives, at home, and on the battlefield. Individuals, communities, and
nations debated: who should be a full and complete citizen and who should not? What is the proper
relationship between an individual and the state? What should be the relationship between reason
and religion? From where does legitimate power derive? Should a nation be held accountable to
certain ideals? Who had authority to speak or writein what contextsand who did not? What was
the value of nature and civilization?
A survey course moves rapidly, covering a wide swath of literary territory. We will read primarily from
the anthology Transatlantic Romanticism to interpret how this literature in England and America
engages with the important political, historical, and sociocultural events of its day. To facilitate your
close reading, I have selected The Bedford Glossary of Critical and Literary Terms. To help you write
your essays, I strongly recommend that you purchase Andrea Lunsfords The Everyday Writer.

2435 1 Lit in English III Marks

Prerequisite: WA. Ranging from late Tennyson to early tomorrow, this survey introduces you to
movements and variations in literary arts across the English speaking world over almost two centuries.
These have been times of massive, varied and widespread literary production. They have been marked
by shifts in aesthetics, ethics and anxieties, the multiplication of media from print to the internet, and
the expansion of authorship from celebrated individuals to social groups. We will track the making and
the aftermath of the twentieth century in authors as disparate as Gilbert and Sullivan, Virginia Woolf,
Alfred Hitchcock and Langston Hughes, and texts as strange as verse by Emily Dickinson, abstract films
by Man Ray, ghost stories by Elizabeth Bowen, skits by Monty Python, and poetry by Super Atari. (This
is only a sampling.) Assignments will probably include a midterm, a two-part final (including essay),
and a group presentation. In addition to gaining knowledge and understanding of the variety of
literature in English, students will be introduced to twentieth and twenty-first century modes of
analysis, and develop their abilities in scholarly writing and speaking.
2490 2 Studies in: Life Writing Hartwick
Non-fiction genes have received significant attention recently in literary studies, and this includes life
writing genres. But is life writing actually non-fiction? How can we define that thin line between
truth and fiction? In this course we will analyze classic and contemporary life narratives of various
genres and consider the kinds of selves they present. We will learn frameworks for understanding
self-representation in the context of popular myths and models of identity. We will also explore how
online virtual media such as Facebook and Twitter are reconfiguring self in private and public life.
We will also scrutinize the recent wave of autobiographical hoaxes (think James Frey and Oprah) to
try and understand why they matter to readers.

3710 1 Gender & Humanities Pafunda

In this YA Literature & Youth Culture version of Gender and Humanities, we'll explore how individuals
have been gendered in literature, film, television, and the like. Well unpack Young Adult and young-
adult-voiced literature at those crucial moments when boys, girls, and gender variant children become
adults and find themselves performing or rejecting those gender roles for which theyve long been
trained. Well read titles such as the The Hunger Games, Eleanor and Park, Romeo and Juliette, and
The House on Mango Street. Crosslisted with WMST 3710-01

4000 1 21 C Iss Prof Writing Knievel

Prerequisite of ENGL 2035 & by consent of instructor. English 4000: 21st Century Issues in Professional
Writing is the capstone course in the professional writing minor and also fulfills the University Studies
Program WC writing requirement. Our course this spring will blend theory and practice while taking up
questions about what texts doand how do they do itin professional and organizational settings.
Such questions will inevitably lead to our considering related questions that have animated the field
since its inceptionquestions about professional writings relationship to rhetoric and ethics, about
genre, and about the relationship between audiences and specialized discourse. Never far from us will
be additional questions about the role of the digital and what it means to write and circulate text in a
digital world. Projects in the class will be both individual and collaborative in nature and may include
some combination of short- and long-form writing assignments, such as a journal or book review, a
report involving primary and secondary research, a white paper, oral presentations, and a social media
project to be determined.
4010 sect. 1-7 Technical Writing in Professns Staff
Deals with professional writing for various audiences. Includes research methods, audience analysis,
organization and developmental techniques, abstracting, types of reports and popularization. Part of
the last half of the course is devoted to solution of a student-initiated problem, culminating in the
writing of a long-form report. Prerequisites: WA and WB; junior standing. Varies by instructors.

4010 8 Technical Writing in Professns Stebbins

Special section - International Students only.
Contact C. Stebbins at stebbins@uwyo.edu NOTE: Computer classroom section. NOTE: prerequisite
of junior or senior standing and prior completion of WA and WB for eligibility. NOTE: Graduate
students must take a writing diagnostic to determine writing skills readiness. NOTE: Graduate
students only may take the course for audit (S/U). Course will cover resumes, memos, reports,
presentations, and general preparation for writing theses and dissertations. WC

4010 40 Technical Writing in Professns Fisher

Online
4010 41 Technical Writing in Professns Hartwick
Online
4010 42 Technical Writing in Professns Hartnett
Online
4010 43 Technical Writing in Professns Sorensen
Online
4010 44 Technical Writing in Professns Couch
Online
4020 1 Publication Editing Garner
Prerequisites: WA & WB (ENGL 2035 & 3000 recommended)
4050 1 WW: Multi-Genre Northrop
Other Peoples Lives: A Multi-Genre Writing Workshop

Emerson said some strange things. Heres one: Let us be poised, and wise, and our own, today. Let us
treat the men and women well; treat them as if they were real; perhaps they are.

In this multi-genre workshop, we will attempt to move closer, through writing, to the realness of other
people. We will begin the semester with generative writing experiments; by the end of the semester,
students will have produced and work-shopped a long-ish creative work (e.g. a photo essay, a series of
dramatic monologues, a novella) rooted in independent reading, exploration and research. I assume
that topics and chosen subject matters will range widely. (See, for examples, Sandy Pools Undark and
Maggie Nelsons Jane.) Possible reading includes: Kevin Coldens graphic novel, Fishtown; W. G.
Sebalds novel, The Rings of Saturn; Van Jordans collection of poems, M-A-C-N-O-L-I-A; Sandy Pools
Undark; Maggie Nelsons Jane: A Murder. Students should come to this course with obsessive
interests, curiosity, a willingness to explore, and a sense of wonder.

4050 2 WW: Book Arts Hagy

Team-taught by visual artist Mark Ritchie and writer Alyson Hagy, this course introduces students to
the history of the book as an object and the traditional crafts associated with book construction. A
basic knowledge of technical processes pertaining to book construction (print-making, typography,
binding, etc.) and a general knowledge of the history of the book will be gained through
demonstrations, hands-on studio work, slide lectures, and visits to museums and archives. This course
is appropriate for intrepid writers who wish to learn how to construct simple books and how to
analyze books as objects of artistic expression. Collaborations among visual artists and creative writers
will be encouraged, but students should note that this course is labor intensive. Prerequisite: W2 and
an introductory level creative writing course. Graduate students may arrange to enroll in this class at
the 5000 level, if appropriate. NOTE: Cross listed with ART 3500-01. Contact Kris Wold
(kwold@uwyo.edu) for registration
4075 1 Writing for Non-Profits Knievel
Prerequisites: WA and WB. Writing for Non-Profits (WC) focuses on all aspects of writing successful
grants in a non-profit setting. We will work collaboratively to identify sources of funding, pursue
relationships with non-profit organizations, and brainstorm, research, and design worthy projects.
Using a rhetorical lens, we will learn to write grants tailored to specific audiences, with special
attention to the creation of particular elements key to all grants, such as: (1) statements of need; (2)
project descriptions, timelines, and outcomes; and (3) line-item budgets. In all of our work with grant
writing, we will concentrate on developing expertise in the fundamentals of document design and
utilizing context-appropriate style, tone, and format. In the end, this course will prepare you to
propose projects and meet funding objectives in a variety of contexts, including business, non-profit
organizations, government agencies, and independent work.

4075 2 Writing for Non-Profits Quackenbush

Prerequisites: WA and WB. Writing for Non-Profits (WC) focuses on all aspects of writing successful
grants in a non-profit setting. We will work collaboratively to identify sources of funding, pursue
relationships with non-profit organizations, and brainstorm, research, and design worthy projects.
Using a rhetorical lens, we will learn to write grants tailored to specific audiences, with special
attention to the creation of particular elements key to all grants, such as: (1) statements of need; (2)
project descriptions, timelines, and outcomes; and (3) line-item budgets. In all of our work with grant
writing, we will concentrate on developing expertise in the fundamentals of document design and
utilizing context-appropriate style, tone, and format. In the end, this course will prepare you to
propose projects and meet funding objectives in a variety of contexts, including business, non-profit
organizations, government agencies, and independent work.

4120 1 Shakespeare: Tragedy Rom Parolin

Prerequisite: 6 hours 2000-level literature courses
4120 2 Shakespeare: Tragedy Rom Croft
We will read seven of Shakespeares later plays in the genres of tragedy and romance. We will not
only read these plays as literary or dramatic texts but also consider film adaptations of Shakespeare,
some of which might be useful in the high school classroom. These films will include international
adaptations of Shakespeare that touch on the unifying theme of the course: the individuals
relationship to his or her society in the midst of racial, ethnic, and national tensions.
Assignments will include keeping a reading journal for each play, a group performance exercise, active
participation in class discussion and exercises, and a final analytical research paper.
4180 80 Middle English Lit Wendt
Video Conf.
4240 1 19th C English Lit: Romantic Marks
4245 1 Jane Austen Nye
In an age of revolution, experimentation, and dissolution of received literary forms, Jane Austen
rescued the novel and demonstrated its suitability for the most comprehensive and humane literary
purposes. With exquisite craftsmanship she raised the stakes for her nineteenth-century successors in
the novel, and her audiences have been faithful ever since. We will examine her antecedents in the
eighteenth-century, the complex cultural milieu in which she emerged, and the range of critical
opinion she has evoked over the past two centuries. Why are people admitting, today more than ever,
that they love Jane Austen?
4370 1 American Prose: 1865-1920 Forbes
This course will offer an intensive study of the fascinating, powerful, sometimes wacky, and often
disturbing fiction and non-fiction written in the United States between the end of the Civil War and the
end of World War I. This course will engage with the history and politics of the period, as well as
deepen students understanding of the literary movements of realism and naturalism. We will read a
broad array of works and writers, including African American and women writers.

4430 1 Modern American Fiction Watson

Modern American Fiction: Innovative Fiction. In this course we will read a number of brief novels and
story collections that bend the conventions of mainstream fiction -- some quite a bit, some in more
subtle ways. Books will include novels such as William Maxwell's "So Long, See You Tomorrow"
Michael Ondaatje's "The Collected Works of Billy the Kid," and works by such authors as Joy Williams,
Padgett Powell, Renata Adler, Richard Brautigan, David Markson, and possibly Cormac McCarthy and
William Faulkner. Requirements beyond reading will include brief weekly reports on the reading (to be
used to stimulate discussion), plus two papers. Optional is to make the papers a hybrid of creative
writing and critical analysis.
4455 1 Literature of Enslavement Forbes
This course will engage in an in-depth study of the literature and culture that emerged from the
history of enslavement in the Americas. Our dual focus will be on literature by African Americans from
colonial times through the end of Reconstruction in 1877 and recent scholarship on African American
history, culture and aesthetics. Over the course of the semester, we will tackle such questions as: How
has the literature of enslavement reflected and helped to change the ways we define freedom,
citizenship, nation? How has this literature shaped the question of what it means to be human, to be
black, to be art? What are the legacies of slavery in the U.S. today? Authors studied will include:
Frederick Douglass, Harriet Jacobs, Harriet Beecher Stowe, and Octavia Butler. Crosslised with AAST
4455 (3D)
4600 1 St:African Literature Hix
For a host of cultural reasons, most of us in the UW English Dept., students and faculty alike, have
studied British and American literature in far greater depth than we have studied other literatures.
Our literary understanding of Africa, if we have any at all, is likely to have been shaped mostly by
works set in Africa but written by Europeans: Heart of Darkness, say, or Out of Africa. In this course,
we will attempt to alter that circumstance, by reading a number of recent works by African writers. In
particular, this semester we will focus on writings from South Africa, a country with a particularly rich
literary tradition, attending to the various complicated questions they pose, in regard to gender,
religion, colonialism, family, love, and so on.

4600 2 Studies in: Girls Studies Pafunda

In this course, we'll get a sense of the burgeoning field girls' studies stands and develop our own
theories about girls, girlhood, gender performativity, and related concepts. Well read mix of girl-
voiced literature, including the The Hunger Games, Dangerous Angels, Lynda Barrys Cruddy, The
House on Mango Street, and the like. Well also examine excerpts of popular YA and girl-voiced
literature, theory, films and television shows, and music videos in order to analyze the girl in
contemporary culture. There will be three written assignments, but graduate students will be welcome
to substitute work (creative, critical, or hybrid) that serves their thesis interests.Crosslisted with:
WMST 4500 WMST 5000 (3F)
4600 3 Studies in: Transatlantic Lit Hartwick
Body, Spirit, Text: Transatlantic Literature 1600-1800
How and why do body and spirit come together in the literature of the Transatlantic? In colonial
America, Mary Rowlandson posited that the spiritual got her through the physical hardship of Native
American captivity, while in seventeenth century England Samuel Pepys recorded his physical excesses
in his diary and linked them to a deficit of the spirit. The literature of the Atlantic world in the
seventeenth and eighteenth centuries was fascinated with the testing of borders and boundaries in
the realms of the physical, spiritual, and often textual. In this course we will explore how those
boundaries and borders were tested and crossed by authors of the period. We will read a combination
of genres, including novel, spiritual autobiography, captivity narrative, periodicals, diary, and poetry
and examine the relationship between the nations that border the Atlantic and their physical and
spiritual representations in literature.

4600 80 Studies in: Horror Richardson

What scares us? Terror and horror have generated lots of bestsellers from the 18th century to the
present. This survey of the history of horror literature in English looks at how the form has exploited
and addressed the anxieties of different times with attention to the more persistent social-political
concerns of Euro-American culture. We will read famous books such as Frankenstein, Dracula, and Dr.
Jekyll and Mr.Hyde as well lesser known work by Horace Walpole, Monk Lewis and Ann Radcliffe.
We conclude with current literature and film and discuss how they reflect the culture of fear in our
time. Expect reading, journal writing, papers, an exam and lots and lots of discussion.

Students describe the Dr. Bruce Richardson as a dynamic, enthusiastic and knowledgeable instructor
who gets everyone involved. Bruce has won an Ellbogen award for classroom teaching, recognized for
extraordinary merit in teaching, and been named one of the top ten teachers in The College of Arts
and Sciences. Video Conf. & Casper College
4640 1 Digital Humanities: Medievalisms Croft
This course will consider how medieval worlds and cultural values have received a new lease on life
through digital technologies, such as HD video, wikis and other websites, and online gaming.
Throughout the course we will consider how these new media platforms reinterpret familiar medieval
notions, such as comitatus, monstrosity, chivalry and knighthood, courtly love, religious mysticism, and
the startling figure of the female warrior. Given both the coming release of a new Star Wars film in
2015 and some recent scholarly studies of the series, George Lucass famous franchise and its various
digital iterations will serve as our test case of medievalism being digitally reimagined for contemporary
times. We will also consider Spensers Faerie Queene as a preceding Renaissance attempt to
reinterpret medieval literature for its own historical moment in a similar way (using the relatively new
technology of print, as revolutionary if not more so than our own digital revolution).
Assignments will include keeping a journal on both the medieval texts we read and the digital media
we explore together, active participation in class discussion and exercises, and a final group video
project with accompanying documentation (proposal, progress report, and completion report).

4640 2 Chicano Perspectives Fonseca

4950 40 American Dream in Literature Bogart
"The American Dream" is a term that encompasses a multitude of meanings. Although Americans
often assume that the phrase is embedded in the nation's founding documents, it was actually coined
by historian James T. Adams in 1931, writing that the American dream [is a] dream of a land in which
life should be better and richer and fuller for every man, with opportunity for each according to his
ability or achievement. Regardless of its origins, the concept of the American dream is deeply
embedded in American culture, including American literature. Through the close reading and guided
discussion of seven literary works, this course leads you on a journey through the various
manifestations of the American Dream toward a deeper understanding of American culture and of
ourselves.
4970 1 Writing Internship Van Baalen-Wood
4990 1 Senior Sem in English Obert
This course serves in part as an introduction to a mode of thought: we will approach critical theory less
as a monolithic disciplinea set of difficult philosophical texts to be read, summarized, and set
aside at semesters endthan as an analytical tool that we can usefully apply in an ongoing way to life
and to literature. Together we will read, discuss and write thoughtfully about literary texts and
cultural artefacts by placing them in dialogue with works of theory and criticism. Because this is a
capstone class, students will be asked to engage rigorously with course materials, to work intensively
and consistently throughout the semester, and to produce a lengthy paper of high quality at the end of
the term. The weekly reading load in this course will often be relatively substantialthat is simply the
nature of the classbut the texts are exciting, and I hope you will find the work well worth your while.
The theme that will direct our work this semester is Reading the Body. We all have bodies. They
make us feel comfortable and uncomfortable; they suffer pleasure and pain. They are both sinew,
flesh, and boneutterly material, seemingly natural registers of experienceand social vessels
shaped by a variety of textual and cultural pressures. Bodies are often figured as receptacles of
individual identity, but they are constantly subject to external discipline. They appear to be
essentially human, and yet they can be implanted, technologized, modified, virtualized, made
prosthetic. In this class, we will examine these seeming contradictions as they are elaborated in
theoretical texts and represented in literature, film, photography, and other media. We will consider
issues of gender, race, sexuality, and disability in relation to lived embodiment. We will interrogate
the relationships of body to mind; of reason to emotion. We will investigate the fate of the body in
the digital age. All told, we will try our best to understand the often inscrutable desires, sympathies,
and vulnerabilities that attach, as Virginia Woolf once put it, to the daily drama of the body.

4990 2 Senior Sem in English Thompson

5220 1 Studies: Medieval Lit Araby Anderson
5280 1 Studies: 19thC Eng Lit Nye

The nineteenth century was an epoch of revolution as much in poetry as politics. From the birth of
English romanticism to the uneasy end of the century, poetry flourished, affording deep human
alternatives to the increasing materialism and commercialism of the age. This seminar will explore the
major expressions of poetic creativity, examining the modification and transmission of poetic forms.
How, for example, is a sonnet by Wordsworth different than one by Keats, or Shelley, or Rossetti, or
Meredith, or Elizabeth Barrett Browning, or Yeats? In addition to intense study of various lyric modes,
well look at more extended poetic forms, idylls, romances, narrative tales, ballads, even verse epics.
And of course this is the most elegiac of ages, perhaps until our own. How can the elegy coexist and
develop so fully with a time of increasing imperial confidence and cultural hegemony? In disarming
simplicity, Coleridge said, I wish our clever young poets would remember my homely definitions of
prose and poetry; that is, prose,words in their best order; poetry,the best words in their best
order. Many of the best and most beautiful moments of the English language were shaped by the
poets of the nineteenth century, and this seminar aims to identify and explore them.
5330 1 Stds: 20C American Lit Russell
What was America, who was American, and what did it mean to be American in the 20th century?
This course will examine those questions through close reading and analysis of major works of 20th
century American literaturewith 99.6% less Norman Mailer than similar courses. We will focus
primarily on novels and poetry, but short stories and essays may stop by for a drink, and we will trace
the main literary movements within 20th century American literature; of special importance will be
interrogating the nexus of race, gender, and class both within the literature and within American
culture at large so that we may see how the epic social movements of the 20th century derive
inspiration from, and find reflection in, the major writings of the period.

Reading List
Hemingway: The Sun Also Rises
Fitzgerald: Tender is The Night
Steinbeck: Grapes of Wrath
Ellison: Invisible Man
Vonnegut: Slaughter House-Five
Cisneros: House on Mango Street
Erdrich: Love Medicine
Morrison: Beloved
Rita Dove, ed. Penguin Anthology of 20th Century American Poetry

5360 1 Studies: Ethnic Lit: Irish Obert

This course surveys Irish and Northern Irish literature (fiction, poetry, drama, non-fiction, and film) and
criticism from 1960- present. We will begin by exploring Irelands struggle for self-definition mid-
century, including its reckoning with its (relatively) recent independence from the UK, its
engagement with its own postcoloniality, its place in relation to both tradition & modernity, its
renewed relationship with the Catholic Church, and its indebtedness to/breaks from the earlier
cultural nationalism of the Irish Literary Revival. We will then carry on to discuss present-day cultural
concerns in the Irish Republic, including the role of the Irish language, issues of gender & sexuality in
modern Ireland, the place of the border between Ireland & Northern Ireland in the Irish imagination,
and the implications of the Celtic Tigers recent cycle of boom and bust. We will also spend a
significant portion of the semester dealing with the Troubles in Northern Ireland, examining how
writers have responded to civil conflict, sectarian violence, and tentative peace.
5530 1 Modern Critical Theory & Practice: Global Modernisms Baskin
Recent critics and theorists have moved beyond the nation-state as an organizing category for literary
studies and begun to read literature in a global context. This course will study the global turn in literary
studies in relation to modernism. Probably the most influential cultural movement of the twentieth-
century, modernism was long seen as an exclusively European invention (even if it was later helped
along by a few disaffected, and often exiled, British, Irish and American writers). However, recent
critics and theorists have thoroughly complicated this familiar picture and are working to develop a
concept of modernism as a truly global phenomenon. Focusing on literary texts written in English, but
drawing widely on theories of modernity, imperialism, postcolonialism, cosmopolitanism,
globalization, uneven development and capitalist world-systems, we will trace out this newly
expansive understanding of modernism that has emerged from its placement in a global context.
Readings may include some of the following authors, theorists and critics: Conrad, Eliot, Loy, McKay,
Brathwaite, Walcott, Rhys, Naipul, Abani, ONeill, Moretti, Casanova, Mufti, Baucom, Wallerstein,
Gikandi, Esty, Williams, Jameson, Appiah, Robbins, Harvey, Fanon, Cesaire, Ngugi, Bhabha, Spivak,
Glissant and Chakrabarty. In addition to reading and discussion, assignments will likely include at least
one in-class presentation, a short piece of critical writing, and a seminar paper. Undergraduates may
join the class with permission of the instructor only (email jbaskin@uwyo.edu if you are interested).

5560 1 WW:Poetry Northrop

Only for students enrolled in the MFA Program
5560 2 WW: Non-Fiction Fitch
5560 3 WW: Fiction Lapcharoensap
5900 1 Prac-College Tchng Galbreath
5900 2 Prac-College Tchng Fisher
5900 3 Prac-College Tchng Stewart
5900 4 Prac-College Tchng Pexton
5900 5 Prac-College Tchng Kirkmeyer
5900 6 Prac-College Tchng Marks
5900 7 Prac-College Tchng Garner