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2018 Fall Semester

Please note that this list does not include composition and technical writing classes (such as ENGL 101, 201, 277, and 379) or online offerings such as ENGL 210 (Introduction to Literature) and 240 (Juvenile Literature).


100-200 level

English 125.01: Introduction to Peace and Conflict Studies

10:00-10:50 MWF

Dr. Paul Baggett

The primary objective of this course is to examine and discuss alternative means of conflict resolution on the personal, local, state-wide, national, and global levels. This objective will be achieved by reading and discussing the assigned literature; viewing a number of films; listening to guest speakers; attending relevant campus events, writing a midterm and a final paper; and by completing a service learning project. Possible texts include Thich Nhat Hahn's Peace Is Every Step, Gaines's A Lesson Before Dying, Lederach's The Little Book of Conflict Resolution, Hedges's War Is A Force That Gives Us Meaning, Kaldor's New and Old Wars, and Brach’s Approaches to Peace.


English 151: Introduction to English Studies 

Section 01: 11:00-11:50 MWF 

Dr. Nicole Flynn

Section 02: 1:00-1:50 MWF 

Dr. Katherine Malone

This course will introduce English majors to methods of critical reading and writing about literature. We’ll analyze works of fiction, poetry, and drama and engage in lively class discussions about ways of reading. Our assignments—which include short essays, bibliographies, oral presentations, and a research paper—will help you develop skills in close reading, research methods, and MLA style.


English 221.01: British Literature I

10:00-10:50 MWF

Dr. Michael S. Nagy

This survey of British literature will introduce you to key authors, texts, genres, and historical debates from the late-eighteenth century to the present. As we explore the romantic, Victorian, modern, and postmodern eras, we’ll discuss literary works in the context of cultural forces including industrialization, empire, war, democracy, and changing attitudes about race, class, and gender. We’ll also read writers’ manifestos and critical responses to consider how the role of the artist and the purpose of art have been defined during these two tumultuous centuries. Our class meetings will include lecture, lively discussion, and student presentations. Exams and essay assignments will help you improve your critical reading and writing skills and enhance your appreciation of the history and functions of literature. 


English 241.01: American Literature I

9:00-9:50 MWF

Dr. Paul Baggett

This course provides a broad, historical survey of American literature from the early colonial period to the Civil War. Ranging across historical periods and literary genres—including early accounts of contact and discovery, narratives of captivity and slavery, poetry of revolution, essays on gender equality, and stories of industrial exploitation—this class examines how subjects such as colonialism, nationhood, religion, slavery, westward expansion, race, gender, and democracy continue to influence how Americans see themselves and their society.

Assignments include readings from The Heath Anthology of American Literature (7th Edition. Package A/B: Colonial Period to 1865), attendance and participation, two papers, a midterm and a final exam.


English 241.02: American Literature I

12:00-1:15 TR

Dr. Seth Studer

According to the South Dakota State University Undergraduate Catalogue, English 241 provides “background to and [a] survey of major works from the beginnings to the Civil War.” If we consult the archeological record, such a survey requires us to consider over 13,000 years of human culture; if we consult any of the numerous American Indian histories, our survey literally begins at the creation of the world. Even if we limit ourselves to the period between First Contact – when Spanish and Arawak people met in the Caribbean in 1492 – and the American Civil War, we must survey nearly 400 years. No matter how we define American literary history, our undertaking is enormous, and therefore exciting.  

This course will offer you a survey of American literature from First Contact to the Civil War. “American literature” during this period was no homogenous entity, but rather a polyglot multitude of genres, all with different purposes and different audiences: letters, lyrics, ballads, hymns, eulogies, essays, sermons, polemics, novels, novellas, short stories, tragedies, comedies, musicals, and memoirs. In this course, we will grow conversant in many of these genres and become acquainted with the major themes, tropes, and preoccupations of American literature over these four centuries. We will discover a multicultural history that includes bloody colonial ambitions and Puritan utopianism; the birth of a republic, the United States, and the myriad indigenous peoples who struggled to coexist with it; wilderness and cosmopolitan centers; slavery and emancipation. This course will grant us access to the voices and visions of previous Americas, and it will force us to consider how the America we inhabit today came to be.


English 248.01: Women in Literature

WMF 10:00-10:50

Dr. Christine Stewart

Women in Literature can encompass a wide variety of literature and approaches to literature. This semester the theme for our class is Women Writing Their Lives. We will read memoir (both long and short form), feminist theory, and critical work about memoir. Despite the genre focus, the course will still take up questions of feminist inquiry: What social and cultural factors shape these women’s narratives? What impact does being a “woman” have for the characters of the literature we read? What are the concerns of women writers as represented by these works? How do these writers, either directly or indirectly, engage feminist theory? Some of the themes we will explore include gender, ethnicity, class, sexuality, memory, history, language, body, female empowerment, female desire, relationships, family, and love. You will be assessed on your close reading via reading responses and class discussion, critical and creative writing projects, a collaborative presentation, and a final course narrative.

Required Texts:

  • Jacobs, Harriet. Incidents in the Life of a Slave Girl: restored version complete and unabridged.CreateSpace, 2009. ISBN-13: 978-1438299587  (I’ve been told you can get this text in its entirely free online.)
  • Lorde, Audre. Zami: A New Spelling of My Name - A Biomythography. The Crossing Press, 1982. ISBN: 13: 978-0895941220
  • Nafisi, Azar. Reading Lolita in Tehran: A Memoir in Books. Random House. 2004. ISBN: 0-8129-7106-X 
  • Satrapi, Marjane. The Complete Persepolis. ISBN: 978-0-375-71483-2
  • Link, Aaron Raz and Hilda Raz. What Becomes You. Bison Books, 2008. ISBN: 978-0803216426


ENGL 250: Science Fiction

2:00 - 2:50 MWF

Prof. Steven Wingate

This course explores one of the most significant literary genres of the past century in fiction and in film. We will focus in particular on the relationship between science fiction works and technological and social developments, with considerable attention paid to the role of artificial intelligence in the human imagination. Why does science fiction seem to predict the future? What do readers and writers of the genre hope to find in it? Through readings and viewings of original work, as well as selected criticism in the field, we will address these and other questions. Our reading and viewing selection will be announced in spring 2017, but will include such artists as Ursula K. LeGuin, Octavia Butler, William Gibson, and Phillip K. Dick. Note: Students will be expected to watch films out of class time using a streaming service of their own choosing.  


ENGL 283:01  Introduction to Creative Writing

12:00-12:50 MWF

Prof. Steven Wingate

Students will explore the various forms of creative writing (fiction, nonfiction, poetry, and drama) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirement as ENGL 201; note that the course will involve creative research projects. Successful completion of ENGL 101 is a prerequisite.  


ENGL 283:02  Introduction to Creative Writing 

1:00-1:50 MWF

Dr. Christine Stewart

In English 283, which fulfills SGR #2 requirements for advanced composition, you will use primary research to write in creative genres (in Dr. Stewart’s section, poetry and creative nonfiction). During the first half of the semester, you will learn how to craft poetry by developing your imagery, lineation, and sound skills; you will conduct primary research in the Agricultural Heritage Museum to inspire your poems. During the second half of the semester, you will learn how to craft creative nonfiction by strengthening your scene-building, dialogue-creating, and reflection skills; you will conduct research to integrate into your piece as well. A cornerstone to any creative writing course is learning to read through the eyes of a writer; sharing your work for response from both peers and the professor is also an essential component. We will be doing both.  I use portfolio assessment as the main assessment tool; I do not give exams. If you have any questions about this fast-paced, experience-immersed, meaning-making writing course, please do not hesitate to contact me. 

Please note that this is cross-listed as an Experiential Learning (EXPL) course and will count toward the 15 or more hours of coursework required for earning the Experiential Learning Certificate upon graduation.

Prerequisites: Successful completion of ENGL101.

Required Texts:

  • Kooser, Ted. The Poetry Home Repair Manual. Nebraska UP. 2005.
  • Perl, Sondra and Mimi Schwartz. Writing True: The Art and Craft of Creative Nonfiction. 2013. WE WILL USE THE SECOND EDITION



ENGL 330.01: Shakespeare

11:00-12:15 TR 

Dr. Sharon Smith 

This course will focus on William Shakespeare’s poetic and dramatic works, as well as the cultural and social contexts in which he produced them. In addition to reading a selection of Shakespeare’s sonnets, we will read a number of his plays including The Taming of the Shrew, The Merchant of Venice, Twelfth Night, Hamlet, Othello, Macbeth, and The Tempest. 

Required Text

The Norton Shakespeare: Essential Plays/The Sonnets. Ed. by Stephen Greenblatt. 3rd ed. W. W. Norton, 2016. ISBN-13: 978-0393938630; ISBN-10: 0393938638.


HON 303.01/ENGL 363.01: The Western in Context: The American West in Literature, Film, and Culture

Tuesday, 4:30-7:20 

Dr. Jason McEntee and Dr. Sharon Smith

Crosslisted with Honors 383: Honors Colloquium 

The Western is the quintessential American genre. Other than the Gangster/Crime genre, no other genre comes close to it in terms of popularity. At the same time, few genres go to such great lengths to both articulate American values and ideals and expose American mythologies and failures. In this class, we will consider Western literature and film within the context of both the myth and the reality of the American West. As we span decades of literature and film, we will pay careful attention to genre construction (Why is a horse a “convention” of the Western genre? What in the world is a “Spaghetti Western”?); gender (How do Westerns imagine women and men? Do men and women imagine the West differently?); race (How do Westerns represent people of diverse races and ethnicities? How does one’s race and/or ethnicity contribute to one’s understanding of the West?); history (Should we embrace one “true” history of the West, or should we be open to a variety of alternative histories?); and culture (What does the Western say about us?). To provide further context for our discussions, we will explore a variety of issues of concern for people of the American West, both past and present. 

Readings will be drawn from the following list

  • Owen Wister, The Virginian (1902) 
  • Zane Grey, Riders of the Purple Sage (1912) 
  • Laura Ingalls Wilder, Little House on the Prairie (1935) 
  • Jack Schaefer, Shane (1949) 
  • Louis L’ Amour, Hondo (1953) 
  • Dorothy M. Johnson, “The Man Who Shot Liberty Valance” (1953) 
  • Charles Portis, True Grit (1968) 
  • Ishmael Reed, Yellow Back Radio Broke-Down (1969) 
  • Glendan Swarthout, The Shootist (1975) 
  • Cormac McCarthy, Blood Meridian, Or The Evening Redness in the West (1985) 
  • Annie Proulx, “Brokeback Mountain” (1997) 
  • John Cawelti, The Six Gun Mystique Sequel (1999) 

Films will be drawn from the following list

  • Edwin S. Porter, The Great Train Robbery (1903) 
  • John Ford, Stagecoach (1939) 
  • Fred Zinnemann, High Noon (1952) 
  • George Stevens, Shane (1953) 
  • John Ford, The Searchers (1956) 
  • John Ford, The Man Who Shot Liberty Valance (1962) 
  • Sam Peckinpah, The Wild Bunch (1969) 
  • Henry Hathaway, True Grit (1969) 
  • Don Siegel, The Shootist (1976) 
  • Kevin Kostner, Dances with Wolves (1990) 
  • Clint Eastwood, Unforgiven (1992) 
  • Maggie Greenwald, The Ballad of Little Jo (1993) 
  • Ethan and Joel Coen, No Country for Old Men (2007) 
  • Ang Lee, Brokeback Mountain (2007) 
  • Neil Diamond, Catherine Bainbridge, and Jeremiah Hays, Reel Injun (2009) 
  • Ethan and Joel Coen, True Grit (2010) 
  • Quentin Tarantino, Django Unchained (2012) 
  • David Mackenzie, Hell or High Water (2016) 
  • James Mangold, Logan (2017)



AIS/ENGL 447: American Indian Literature of the Present

MWF 1:00-1:50

Dr. Sarah Hernandez

This course is designed to introduce students to contemporary American Indian literature and poetry. Please note the keyword is “introduce” as more than 5,000 tribes currently exist worldwide. Obviously, we cannot cover the creative works of all these tribal groups and indigenous communities in one class. Special emphasis is placed on the following three literary genres: tribally-specific literatures, pantribal literatures, and world indigenous literatures. Tribally-specific literatures refer to books written by local, often reservation-based authors and poets. Pantribal and world indigenous literatures include poetry and prose written by indigenous writers from other parts of the United States and abroad. We will analyze and interpret these texts in their specific tribal contexts, and start to examine some of the shared thematic concerns and literary strategies expressed in these three literary genres.This semester, we will read book by Janet Campbell, Elizabeth Cook-Lynn, Gaspar Pedro Gonzalez, and M. Scott Momday to name a few writers. This list is subject to change.

Course requirements include attendance/participation, assigned reading and writing including a mid-term and final paper.


ENGL 479.01: Capstone Course and Writing in the Discipline—Victorian Magazines and Popular Fiction

3:00-5:50 Thursday

Dr. Katherine Malone

What does soap have to do with Charles Dickens? Did the steam railway actually endanger readers? Could an author really review her own novel—and get paid for it? Many of the Victorian novels we now consider classics first appeared serially and anonymously in magazines, where they ran alongside a variety of journalistic genres and advertisements. In this course, we'll read serial fiction by Charles Dickens, Mary Elizabeth Braddon, Margaret Oliphant, Anthony Trollope, and others in their original periodical context to discover how they participated in larger cultural debates. Using print and digital archives, we'll turn the pages of Victorian magazines to explore how their material conditions influenced the form of the novel. We'll also conduct reception histories to consider how reviewers and critics self-consciously reflected on the growth of print culture. Besides reading a lot of fun popular fiction and journalism, you can expect to gain a broad historical foundation in Victorian literature and culture, familiarity with a range of critical lenses, and specialized research skills in periodical studies and book history. Assignments include weekly response papers, bibliographies and research reports, in-class presentations, and a final research essay.


ENGL 492.01 Linguistic Anthropology

MW 8:30-9:45

Dr. Jeremy Rud

This course provides an introductory survey to the field of linguistic anthropology, one of the four traditional subfields of anthropology. In this course, we will ethnographically examine culture and society through language and discourse. By viewing language as a form of social action, key concepts will include relativity, agency, indexicality, voice, expertise, embodiment, diversity, performativity, and political economy. With these concepts we will explore contemporary issues in the field through intersectional discussions of gender, sexuality, race, ethnicity, class, and power, and the role of linguistic practices in producing, challenging, and affirming identity. Overall, this course aims to build students’ capacity to use ethnography as a research methodology and develop students’ critical awareness of language in the constitution of social, cultural, and political relations.

Required Text:

Ahearn, L. M. (2016). Living Language: An Introduction to Linguistic Anthropology (2nd Ed.). Chichester, UK: Wiley-Blackwell.


ENGL 492.02 Peer Tutoring

Times TBA

Nathan Serfling

Since their beginnings in the 1920s and 30s, writing centers have come to serve a number of functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops, and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis--that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets, and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as tutors, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations, and develop a richer sense of writing as a complex and negotiated social process.

Prerequisites: Students wishing to enroll in this course must be of junior or senior standing and needs to provide the name of an English department faculty member who will serve as a reference for them.


ENGL 492.03: Writing Creative Nonfiction

3:00-5:50 Wednesday

Dr. Christine Stewart

This course will immerse you into the practices of reading and writing of Creative Nonfiction (CNF). We will seek to define and name this genre, discuss what reasons we have for transforming experiences into writing, problematize the nature of truth(s) and memory, describe the role of the “I,” and probe the ethics of writing about and representing the people in our lives. We will also practice strategies and techniques for reading, writing, revising, responding to, and editing CNF texts. In this course, you will develop your ability to think critically, speculatively, and imaginatively. Not only will you build an appreciation for the art of creative nonfiction, you will strengthen your ability to write it. 

Furthermore, this course is an Experiential Learning course. The course includes a hands-on learning project (service learning, applied learning, field- based learning, integrative learning, scholarly activity, or study abroad). The College of Arts, Humanities & Social Sciences is committed to providing students with access to relevant real-world learning opportunities that better prepare them for the workplace and graduate training programs. This course will count toward completion of the 15 or more hours of coursework required for earning the Experiential Learning Certificate upon graduation.

Required Texts:

  • The Writer’s Portable Mentor by Priscilla Long. ISBN: 9780984242108
  • The Fourth Genre edited by Robert L. Root, Jr. and Michael Stenberg  6th Edition. ISBN: 978-0-205-17277-1




English 592.01: Writing Creative Nonfiction

3:00-5:50 Wednesday

Dr. Christine Stewart

This course will immerse you into the practices of reading and writing of Creative Nonfiction (CNF). We will seek to define and name this genre, discuss what reasons we have for transforming experiences into writing, problematize the nature of truth(s) and memory, describe the role of the “I,” and probe the ethics of writing about and representing the people in our lives. We will also practice strategies and techniques for reading, writing, revising, responding to, and editing CNF texts. In this course, you will develop your ability to think critically, speculatively, and imaginatively. Not only will you build an appreciation for the art of creative nonfiction, you will strengthen your ability to write it. 

Required Texts:

  • The Writer’s Portable Mentor by Priscilla Long. ISBN: 9780984242108
  • The Fourth Genre edited by Robert L. Root, Jr. and Michael Stenberg  6th Edition. ISBN: 978-0-205-17277-1



English 705.01: Seminar in Teaching Composition

3:00-5:50 TH

Dr. Michael Keller

This course is designed to ground you in the histories, theories, and practices of writing instruction and thereby to: 1) prepare you to teach your own classes at SDSU and beyond, and 2) introduce you to issues and debates that have shaped and that currently shape the profession. To serve these aims, the readings, discussions, and writing assignments will address a variety of practical and theoretical concerns. The former include assignment and course design, assessment, and classroom pedagogies; the latter, theories of rhetoric and composition, as well as the social and institutional contexts that inform them.

Past texts have included the following:

  • Reading Popular Culture: An Anthology for Writers, edited by Michael Keller
  • They Say/I Say: The Moves That Matter in Academic Writing by Gerald Graff and Cathy
  • Birkenstein
  • The St. Martin’s Handbook by Andrea Lunsford
  • St. Martin’s Guide to Teaching Writing by Cheryl Glenn & Melissa A. Goldthwaite
  • Teaching Composition: Background Readings, edited by T.R. Johnson
  • A Teaching Subject: Composition Since 1966 by Joseph Harris
  • Rhetoric, Poetics, and Cultures: Refiguring College English Studies by James A. Berlin
  • Lives on the Boundary: A Moving Account of the Struggles and Achievements of America’s
  • Educationally Underprepared by Mike Rose
  • My Freshman Year: What a Professor Learned by Becoming a Student by Rebekah Nathan
  • Understanding Popular Culture by John Fiske
  • Trash Culture: Popular Culture and the Great Tradition by Richard Keller Simon
  • The Empire of Illusion: The End of Literacy and the Triumph of Spectacle by Chris Hedges
  • The Gutenberg Elegies: The Fate of Reading in an Electronic Age by Sven Birkerts

Written work for the course will include two short responses to the readings (2-3 pages), one research project (15 pages) that investigates an area of writing instruction of interest to you, and a syllabus for English 101 that includes a rationale (5 pages) for the sequence of reading selections and writing assignments. I recommend, too, that you keep a journal to record your thoughts on issues that arise in this class and in those you are teaching. In addition to class discussion, oral work will include two brief presentations: one to teach an essay from Reading Popular Culture and one to report progress on your research project.


ENGL 726.01: Remembering The Great War

Mondays 3:00-5:50 

Dr. Nicole Flynn

The Great War. World War I. The War to End all Wars. This year marks the 100th anniversary of the conclusion of this epic conflict. This war ended the carefree Edwardian era and ushered in the violent birth of modernity. It left no part of British culture and society untouched—gender roles, the economy, technology, medicine, family structure to name a few—and it redrew the map of the world. Although we will anchor our examination in Britain’s experience of the war, our scope will inevitably extend in every direction across the globe. We will examine texts that represent this multifarious global event: canonical and neglected texts; written, visual, and dramatic; fiction and nonfiction; experimental and traditional; texts composed before, during, and after the war; texts about the battlefield and the homefront. Furthermore, we will interrogate the way it has been remembered and how texts represent the concept of war.