| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | AA | AB | |
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1 | prefix | number | section | title | prof | counts for | days/time | detailed description | ||||||||||||||||||||
2 | engl | 101 | 1 | |||||||||||||||||||||||||
3 | engl | 103 | 1 | |||||||||||||||||||||||||
4 | engl | 111 | Expulsion & The Housing Crisis | McCoy | From Mr. Herbert Gettridge’s experience after Hurricane Katrina and Shakespeare's King Lear, to Octavia Butler's Parable of the Sower, and Toni Morrison’s A Mercy we will accumulate texts circulating around the following question: Can literature and other art forms do anything for thinkING about that which seemed to burst forth in 2008 as what has been variously termed the ‘global financial crisis,’ ‘foreclosure* crisis,’ ‘subprime mortgage crisis,’ the ‘housing crisis?’ or **one of the main reasons that home purchase prices and rents are so high right now?** Get ready for a lot of churn: the currents of the Atlantic slave trade, the whorls and culs-de-sac of abandoned developments, and money laundering. *You might want to look up the multiple definitions of “foreclose,” for the term applies to narrative/storytelling, too. | |||||||||||||||||||||||
5 | engl | 112 | 1 | Shakespeare & Kurosawa | Fallon | T/Th 12:30-2:10 | This is a course about an artistic conversation between two geniuses separated by time and space: the English playwright William Shakespeare and the Japanese filmmaker Akira Kurosawa. We will study each in context--Shakespeare against the backdrop of Renaissance England, Kurosawa amid the upheaval of post-World War II Japan--in order to better understand the dialogue between them: Kurosawa's masterpieces Throne of Blood and Ran are adaptations of two of Shakespeare's greatest plays, Macbeth and King Lear. At the heart of the course will be one question: what happens when those plays are brought from the stage to the screen, and from one culture and one moment to another? | |||||||||||||||||||||
6 | engl | 112 | 2 | African Diaspora Lit and Film | Nwabara | T/Th 10:30-12:10 | This course introduces students to the notion of the African Diaspora, or the cultures, identities, people, experiences, and traditions that are formed by African descendent people living outside of Africa, often for generations. Centering literature and film that comes from artists within these communities, the course provides insight into the way stories are used as a means to represent the transformation and preservation of cultural heritage. African Diaspora artists often use their art to expose, explain, and detail the experiences not only of heritage, but of systemic oppression and discrimination faced by their people. In doing so, their ability to represent culture is often seen as a means of resistance, resilience, and self-determination of cultural identity. Learners will engage poetry, short stories, novels, film, and other texts that provide perspectives from a diverse array of African descendent people, though focused on the experiences from the West (i.e. Europe, Americas). | |||||||||||||||||||||
7 | engl | 201 | 1 | |||||||||||||||||||||||||
8 | engl | 201 | 2 | |||||||||||||||||||||||||
9 | engl | 201 | 3 | Foundations of Creative Writing | Bilocerkowycz | T/Th 2:30-4:10 | This course will offer instruction and practice in three genres of creative writing: nonfiction, fiction, and poetry. In her Nobel lecture, author Svetlana Alexievich explains, “In telling a story, humans create—they wrestle time like a sculptor does marble.” This semester we will employ the lens of craft to inform our learning because, like the sculptor, a creative writer must first understand their tools and raw materials. At the same time, we acknowledge, as Matthew Salesses suggests, that there is no such thing as “pure craft,” that craft decisions are inevitably affected by social and cultural factors. This course is an opportunity for students to hone their particular craftsmanship in a supportive and rigorous environment and to serve one another as members of a literary workshop community. In joining this workshop, we agree to write often, share frequently, and provide detailed feedback to our fellow writers. Together, we will study the work of expert poets and prose writers in order to analyze their craft techniques and broaden our conception of what is possible in literature. | |||||||||||||||||||||
10 | engl | 202 | 1 | Reading as a Writer: Graphic Memoir | Bilocerkowycz | T/Th 12:30-2:10 | A creative writing class designed to give students opportunities to practice and refine their writing skills in one or two genres. In "Reading as a Writer: Graphic Memoir" we'll read, analyze, and write graphic essays, graphic memoirs, video essays, and other forms that combine visual elements with creative nonfiction. | |||||||||||||||||||||
11 | engl | 203 | 1 | Reader & Text: Poetics | Doggett | T/Th 12:30-2:10 | This is an introductory course in literary analysis for English majors, one that’s designed to provide you with a foundation in literary studies before you move on to upper division courses. The title, poetics, refers to theories about the study of literature and literary forms. Thus, much of our class will be focused on theoretical discussions about literature and literary criticism. The title also refers to our subject—poetry. Throughout the semester, we will continually practice poetry analysis, with the assumption that if you can excel in the very difficult art of poetry criticism, you will have a solid base for other forms of literary analysis. On a more general level, we will frequently devote time to discussing the English major: Why do we study literature? What sorts of works usually count as literature? How has the English major changed over the last century? | |||||||||||||||||||||
12 | engl | 203 | 2 | Reader & Text: Canadian Literature | Drake | 203 req | MW 6.30-8.10PM | ENGL 203: Reader and Text: Canadian Literature does what every Reader and Text course does: in it, we think about literature—what it is, what it consists of, how we consume it and analyze it, and what all of that means. Why is literature important or relevant? Why pay so much attention to it? We will answer these and other questions by thinking about a literature most of us—even people who focus on English—don’t always notice: the literature of Canada. Even though Canada is less than two hours’ drive from Geneseo, its rich history, creative traditions, and multiculturalism are hardly known to most Americans. So we will look closely at literature by thinking about what Canadians have written—in a novel (Hugh McLennan); in short fiction (Margaret Atwood, Marie-Claire Blais, Stephen Leacock, Thomas King, Alistair McLeod, and the Nobel-Prize-winning Alice Munro are some examples); poetry (Al Purdy, Earle Birney, Daphne Marlatt, John McCrae, Anne Carson, and, in a close look, Margaret Atwood again), and film (Jesus of Montreal). We will think about all of these writings in historical and cultural context. Moreover, each person in the class will read one additional work for the final paper and share knowledge about this work throughout this semester through postings in a collaborative Google Drive project. | ||||||||||||||||||||
13 | engl | 203 | Reader & Text: Marginal Spaces | Woidat | Tu/Th 8:30-10:10am | An introduction to the discipline of English through the study of particular topics, issues, genres, or authors. Subtitles of "Reader and Text" help students develop a working vocabulary for analyzing texts and relating texts to contexts; understand the theoretical questions that inform all critical conversations about textual meaning and value; and participate competently, as writers, in the ongoing conversation about texts and theory that constitutes English as a field of study. In this section, we will examine the marginal spaces of literary production--that is, the space in which critics engage with texts, and the role of marginalized voices and traditions in shaping how we read, what we read, and why we read. Readings include early American women's, Native American, and African American literature that has been recovered by scholars from the margins of literary history, for example, together with diverse contemporary writers whose work complicates genre and foregrounds the complex social, political, and cultural dynamics involved in literary creation and interpretation. | ||||||||||||||||||||||
14 | engl | 207 | 1 | Translating Literature (Creative Writing Approaches to Contemporary Global Challenges) | Smith | CGC | We will explore the long history of translating literary texts between languages and create our own translations. Experience working with additional languages is not required. We will use creative writing to engage directly with contemporary global challenges through encountering a diverse range of writers from different parts of the world. We will focus on various ways written texts enable us to think critically and self-reflectively about local and global networks and systems. Through guided practice in creative writing that focuses on translation as a contemporary global challenge - and opportunity! - students will apply global perspectives in addressing challenges and solving problems. | |||||||||||||||||||||
15 | engl | 301 | 1 | Elegy & Environment | Beltz-Hosek | |||||||||||||||||||||||
16 | engl | 302 | 1 | The Heart of the Story: Crafting Memorable Characters | This fiction workshop will focus on creating and developing convincing and compelling characters. These characters needn’t be “likeable,” for your readers to care about them. We will discuss reasons for writing characters who aren’t model citizens, who aren’t even particularly decent folks. We’ll begin the semester reading published stories and writing exercises before moving on to workshopping your complete stories. | |||||||||||||||||||||||
17 | engl | 329 | 1 | Filming the Seventies | Cooper | Recent | MW 8:30:10:10am | The 1970s are remembered primarily for bad fashion decisions and cheesiness in general. The premise of this cultural studies course is that their popular iconography functions as a sort of historical ellipsis: aside from a few acknowledged political events like Watergate or the Iran hostage crisis, it seems to be a decade when nothing happened. But in hindsight we can discern the emergence of environmental politics, information technologies, queer cultures, and critiques of American exceptionalism. From a standpoint of filmmaking the decade was unusually experimental after a collapse of the studio system and before the rise of new conglomerate financing. Each week we’ll discuss a film encompassing a wide range of genres and subject matter: Zabriskie Point, Alien, Nashville, Saturday Night Fever, Dawn of the Dead, The Towering Inferno, and more. In this course they’ll be approached both as important artistic works and as a means of rethinking contemporary culture. What happens when you take the Seventies seriously? | ||||||||||||||||||||
18 | engl | 361 | 1 | History of the English Language | Drake | Early | T 4.30-7.50PM | How did a little-known tribal language that looked a lot like a complicated form of German end up as the mother tongue of hundreds of millions and the international language of practically everything from diplomacy to air traffic to MTV? That’s what this course will attempt to answer. We will follow the grammatical and semantic changes of English from the Middle Ages to just about the day after tomorrow. Knowing how the English language changes will also help us understand how the shape of Anglophone literature (especially poetry) has changed over the years. The class will also update an ongoing project, the Dictionary of Geneseo English. | ||||||||||||||||||||
19 | engl | 366 | 1 | Connections in Early Literature: Medieval and Renaissance Literature | Drake | Early | TR 8.30-10.10AM | LITERATURE INTERTWINES INEXTRICABLY WITH HISTORY. This is a course that charts the history of British literature through the Middle Ages and into the Early Modern Period. Now, “English” literature starts with Caedmon. The earliest English poet was supposedly an illiterate cowherd taught by an angel to compose verse. From there literature in England continued through what historians call the Old English (or Anglo-Saxon) and Middle English periods and headed into the Early Modern Period (a/k/a the Renaissance). Our course stops about there, sometime in the mid-seventeenth century. But “British” is even more of a political word than a geographical one: it refers to the governmental, economic, and cultural structures emanating from London. Sometimes “British” is a synonym for “English” or even “London”; sometimes it’s decidedly non-English indeed.The study of early British literature builds a foundation for further literary study. For that reason, we will emphasize genre, tradition, history (of literature and its cultural context), and technical literary terms. We will look closely at earlier forms of the English language and its dialects by attempting prose translations of selections from our textbooks in class. We will also read poetry (and sometimes prose or drama) out loud during every class (sometimes more than once); everyone will recite a poetic or dramatic selection; and we will conclude the semester with presentations based on the paper you will write about aspects of your recitation text. | ||||||||||||||||||||
20 | engl | 367 | 1 | Eighteenth Century: Innovations and Legacies | Paku | Modern | TR 10.30-12.10 | The eighteenth century brought us many of the literary concepts and constructs we take for granted - novels, dictionaries, literary biographies, newspapers, an English-language canon - even as we vigorously debate their literary, political, and social value; in this course, we will connect the literary figures we survey with twenty-first-century authors and activists who reimagine their legacy. We'll read on pandemics and poxes, intimacy and pornography, standardized English and translingualism, luxury and labor, and slavery and reparations, paying attention to a range of voices and identities. | ||||||||||||||||||||
21 | engl | 403 | 1 | |||||||||||||||||||||||||
22 | engl | 424 | 1 | |||||||||||||||||||||||||
23 | engl | 402 | 1 | |||||||||||||||||||||||||
24 | engl | 403 | 1 | Poetry: AI & Prompt Engineering | Smith | Recent | What writes poetry? As AI proliferates, we'll explore the long history of poets using constraints and automation to generate new writing, from stochastic computer texts to search engines algorithms, from code poetry to poetry written with or by chatbots. We'll develop a sense of how prompts shape creativity, and consider the developing field of "prompt engineering," which links creative practice not just to what we make but how we create the conditions for what we make. We’ll consider the role of the human alongside the role of computation, procedure, ‘found’ words, cultural conventions, and more, in order to complicate both the idea of “AI poetry” and the “genius” of the poet. | |||||||||||||||||||||
25 | engl | 424 | 1 | |||||||||||||||||||||||||
26 | engl | 426/428 | 1 | Editing and Production Workshop | This is a hands-on class in the editing and production of Geneseo’s literary magazine, Gandy Dancer. Gandy Dancer was established in Fall 2012 with the intent of publishing writing and art from students at SUNY schools, including community colleges and graduate programs. In addition to the practical skills involved in running a literary journal, we will explore the place and purpose of literary journals within the publishing world, examine contemporary literary journals—both print and online--and explore the responsibilities of the editor to writer and audience. Course work: | |||||||||||||||||||||||
27 | engl | 431 | 1 | Environmental Justice | Cooper | Recent | TR 12:30-2:10 | The tradition that Nature looks something like a protected wilderness area spawns a lot of social justice questions. Who gets to be in nature? Where does that leave all the other locations and peoples on earth? How can environmentalism remediate its racist past? In this course, we’ll explore the uses of environmental justice frameworks like slow violence, frontline communities, ecofeminism, food justice, and just transition alongside paradigm-shifting writers like Octavia Butler, Layli Long Soldier, Jeff VanderMeer, and Leah Penniman. | ||||||||||||||||||||
28 | engl | 439 | 1 | American Ways: Captivity Narratives | Woidat | Modern | TR 12:30-2:10 | Kathryn Derounian-Stodola writes in her introduction to Women’s Indian Captivity Narratives, “Some critics believe that the Indian captivity narrative functions as the archetype of American culture, or its foundation text, in which initial contact between Europeans and Native Americans inevitably evolved into conflict and finally colonial conquest. But whether a reader prefers to see the Indian captivity narrative as part of the wider captivity narrative tradition or as a separate literary form, when pared down to its essence, the genre is all about power and powerlessness.” This course will examine the evolution of the captivity narrative as an American literary genre that foregrounds women’s experiences and gender issues as it negotiates racial, religious, social, and political conflicts. We will trace diverse forms of captivity narratives from colonial times to the present era of mass incarceration and compare their thematic concerns. Given the violence, trauma, prejudices, and ideological clashes represented in captivity narratives, students will encounter challenging and difficult topics. Our exploration of this genre and its enduring popularity will aim to provide meaningful, complex understandings of American literature and ongoing social justice issues. | ||||||||||||||||||||
29 | engl | 454 | 1 | Shakespeare | Fallon | Early | T/Th 2:30-4:10 | This course is an introduction to the drama of William Shakespeare. We will read plays representing the major dramatic genres (comedy, history, and tragedy) in which Shakespeare worked, paying special attention to his thrillingly original uses of language; to the features of early modern theatrical performance; and to the social, cultural, and political contexts of early modern literature and drama. | ||||||||||||||||||||
30 | engl | 458 | 1 | Major Author: Christopher Isherwood | Harrison | Recent | This course will study works by Christopher Isherwood, including these later novels: The World in the Evening (1954), Down There on a Visit (1962), A Single Man (1964), and A Meeting by the River (1967). | |||||||||||||||||||||
31 | engl | 467 | Women and the Civil War | Rutkowski | modern | Tues/Thurs 8:30-10:10 | While there is (relatively speaking) male-authored literature that treats the Civil War, writing by women in all genres in this period proliferates. Women’s writing, then, gives us one way into this traumatic period in the history of our country. In this course we will examine the place of the Civil War in American women’s writing, as well as the place of women in writing about the Civil War. Because the American Civil War was about slavery, the key framework in this course is the construction of racial identity and racial difference – whiteness and Blackness – alongside and intertwined with gender. The class focuses exclusively on prose – a novel, a short story and a range of ostensibly nonfiction narratives, memoirs and diaries – ALL of which trouble our traditional notions of “fact” vs. “fiction. We will be particularly interested in looking at white women’s representations of whiteness and Blackness and of slavery; we will read these images alongside texts written by Black women. | |||||||||||||||||||||
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33 | fmst | 100 | intro to film studies | |||||||||||||||||||||||||
34 | humn | 222 | Black Humanities | humanities/Western Civ | ||||||||||||||||||||||||
35 | pasc | 105 | performance as social change | Broomfield | Arts | Performance as Social Change is a high-impact course designed for students interested in understanding the role arts play in advancing social change through interdisciplinary coursework. The goal of the course is for students to increase their awareness and understanding of multicultural competency. Centering the body, embodiment, and movement, students will design their learning experiences around the concept of social change through performance engaging the community. Throughout the course, students will engage with artists, social issues, collaborative assignments and projects, research, movement, and reflective practices. The course is designed with an expressed commitment to diversity, equity, inclusion, and racial justice. Students will exit the course with a broad array of skills and competencies related to social change, leadership, multiculturalism, civic engagement, research, communication, and performance. | ||||||||||||||||||||||
36 | WRTG | 105 | Risks, Rewards, Rent-paying | McCoy | ||||||||||||||||||||||||
37 | WRTG | 105 | Risks, Rewards, Rent-paying | McCoy | ||||||||||||||||||||||||
38 | WRTG | 105 | Students and Learning Assessment | Harrison | ||||||||||||||||||||||||
39 | FMST | 369 | Black Queer Cinema | Broomfield | This course examines significant contributions to black queer cinema of the twentieth and twenty-first century. Applying E. Patrick Johnson’s definition of ‘quare studies,’ this course will observe key genres and themes specific to the black queer representation in film. Black Queer Cinema interrogates the relationship of race, gender, sexuality and identity on screen. Key to this course is what Johnson states, “People have a need to exercise control over the production of their images so that they feel empowered. For the disenfranchised, the recognition, construction and maintenance of self-image and cultural identity function to sustain, even when social systems fail to do so.” This course engages visual representations of black LBGTQ people that grounds analysis steeped in theory and practice. This course will examine aspects of what makes a film queer, its production, and how black queer representation is commodified for audiences. Integral to the course is an exploration of how resistance functions to contest dominant cultural ideas about black identity and LGBTQ representation. | |||||||||||||||||||||||
40 | WRTG | 105-03 | African Lives in Short | Nwabara | T/Th 2:30-4:10 | This course uses African short stories to examine the lives, experiences, and identities of global African people encapsulated in memories, events, or snippets in time. The stories are read in conversation with the authors (e.g. interviews, speeches, talks) in order to ground the stories in local and global contexts. Students will use this material to develop skills to read, critique, analyze and write effectively about the various narratives. Simultaneously, students will have the opportunity to use these stories to model how they write about lived experiences that come from their own worldviews. | ||||||||||||||||||||||
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