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ENG 218 Oral Interpretation of Literature (4)
MTWR 11:40-3:45
Cavanaugh
This course will provide writers, prospective teachers, and lovers of literature the opportunity to practice and perform oral interpretation of fiction, poetry, and drama. Students will prepare readings in each genre and also work in groups to prepare a final performance.

ENG 295, 296 Writing Short Course and Film Short Course
Offered concurrently as a 2 credit course
Fulwiler and Middleton
In the first half of this intensive, combined course, students will read and analyze a wide range of personal essays and use a workshop format to draft, revise, and edit their own. In the second half, they will view, analyze, and evaluate selected films and then will adapt their personal essays from the first half of the class into short films. By combining the genres of nonfiction writing and film, students will have the opportunity to study how the elements of composition, revision, description, and reflection structure both written and visual storytelling. (Both courses must be taken).

ENG 230 A Taste of Medieval England (4)
MTWR 11:40-3:45
Laity
The first week of this course will consist of readings in Old and Middle English. The second and third weeks will occur in London, where students will visit museums, cathedrals, and churches as well as other historic landmarks remaining from the Middle Ages. Part of their experience will be gaining expertise in their tour topic through being a "tour guide" and presenting a lively and informative talk. Students will stay in central London. Also included are day trips to nearby locations. This course will require an additional payment for travel expenses. For specific information, contact Kathryn Laity, 518-484-3778 or laityk@strose.edu.

ENG 106 E1 Images of Women in Literature (4)
TR 4:00-8:10 pm
Boyle
This course will examine ways in which women have been portrayed in literature, especially literature which has been called "feminist." We will ask and answer questions such as "What is a feminist?" "What do feminists believe, and not believe, and why?" "What traits do feminists display?" "Is it possible to be a feminist and not realize it?" Careful examinations of texts and in-depth class discussions will afford students the chance to examine their own beliefs about feminism. We will also be discussing the effect literature has had on how feminism is viewed, and vice-versa. Readings will include plays, short stories and novels written by men and women, including Antigone by Sophocles, A Doll House by Henrik Ibsen, short stories by Kate Chopin, Toni Morrison and others, and Rubyfruit Jungle by Rita Mae Brown. (LO4)

ENG 285 01 Studio Acting
MW 12:00-4:10 pm
Ryan
Introduction to dramatic performance through acting exercises. This course offers strategies and approaches to characterization, improvisation, and play analysis. Students learn to work under direction on stage through monologues and scenes. (L05)

ENG 126 E1 Caribbean Ameican Women
MW 4:00-8:10 pm
Clerico
This course will be a focused examination of fiction by Caribbean women living in the United States, and will provide students a chance to explore diasporic literatures. We will consider how these writers challenge the multiple, contradictory physical and cultural locations out of which they write. Through this gendered analysis of diaspora, we can give full consideration to the specificity of women's experiences of dislocation. We will also examine the importance these writers have in shaping American literature, not just for their representations of the historical and political conditions out of which they write, but also for the way their literatures problematize perceived borders between the U.S. and the Caribbean. Through the work of writers such as Edwidge Danticat, Angie Cruz, Achy Obejas, Jamaica Kincaid, Christina Garcia, and Maryse Conde, we will trace a dialogue that argues for a more inclusive view of America within the U.S. literary tradition. Students will be responsible for two critical papers, as well as several shorter assignments to help contextualize their knowledge of the subject matter. (Fulfills diversity requirement.) (LO4)

ENG 206 Creative Writing (4)
TR 6:00-10:10 pm
Butler
An introductory course in creative writing providing practice in and critique of poetry, fiction, and nonfiction writing. Recommended for students with little or no experience in creative writing. Prerequisite: ENG 105 or equivalent

ENG 260 E1 Shakespeare (4)
MW 6:00-10:10 pm
Butler
Examination of poetry and representative plays in the context of early modern English society and culture. The careful study of Shakespeare's language, of genres, and of theatrical practice will be supplemented by attention to early modern social issues and to present-day critical trends. (L04)

ENG 279 01 Film Noir
MW 4:00-8:10 pm
Meyer
Is there such a thing as American national identity-an "American soul"? And, if so, what is it? What traits or characteristics constitute Americans' sense of self? Commentators have often drawn upon traditional virtues like individualism, optimism, and the inevitability of social progress. But is America really that simple? In the wake of urbanization and industrialization, a number of twentieth-century authors and filmmakers began to advance a "darker" view of American identity. This sensibility finds expression in "film noir." Film noir depicts "hard-boiled," disillusioned, detective-protagonists often as uncertain about "good" and "evil" as the criminals they pursue; noir environments present nocturnal cityscapes in which nothing is certain but danger, desire, and the double-cross. In this sense, film noir may be seen as an expression of deep misgivings vis-à-vis traditional American values. It represents not so much that which we wish we were, but that which we fear we might be.

Films and readings may include: Hammett's The Maltese Falcon, John Huston's film version of the same novel, Wilder's Double Indemnity, Reed's The Third Man, and Laughton's Night of the Hunter, Polanski's Chinatown, Hanson's L. A. Confidential, the Wachowski brothers' Bound, Moseley's Devil in a Blue Dress and Carl Franklin's 1995 film version of the same novel, Ridley Scott's Blade Runner and/or Spielberg's Minority Report, and the Coen brothers' The Big Lebowski and/or The Man Who Wasn't There (2001). We might even have time for a "graphic novel"-noir, such as Ed Brubaker's Scene of the Crime, Max Collins's Road to Perdition, Frank Miller's Sin City, or John Wagner's History of Violence. (LO4)