Spring 2018 ENGL 1101 and 1102 Course Descriptions

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WCP Program

Course Descriptions

Spring 2018

 

ENGL 1101: Autobiographical Graphic Novels Instructor: Dean-Ruzicka
Section F: TTH 9:30-10:45 Clough Commons 123  
Our course will explore graphic novels that cover a variety of topics: the Holocaust (Maus), the Civil Rights Movement (March), mental illness (Marbles), and disability (El Deafo). We will examine multimodal communication through the written and visual elements of graphic novels. Our multimodal projects will include creating our own autobiographical graphic narrative, Pecha Kucha presentations that contextualize our texts, and a video review project.

 

ENGL 1102: Bad Collections Instructor: Rose
Section A5: MWF 9:05am-9:55am Clough Commons 123

Section J5: MWF 10:10am-11:00am Clough Commons 131

Section G4: MWF 12:20pm-1:10pm Stephen C Hall 106

 

 
Stockpiles of nuclear weapons, a surfeit of trash in landfills, record high accrual of greenhouse gasses in the atmosphere, eighty-five percent of global wealth concentrated in just ten percent of its occupants: these are just some bad collections that threaten the continued existence of life on earth. The dangers that these collections pose are obvious, so why is it so hard to disarm, reduce, and redistribute? Why can’t we clean up the messes we make? What if we can’t clean-up because the messes we make compromise human agency? What if we are already incorporate in the bad collections that overwhelm us?

 

To answer these questions, and meet the course goals, we will analyze and practice strategies for communicating ideas about bad collections to a range of audiences across a variety of platforms. Using a WOVEN approach to communication that considers the interrelationship between Written, Oral, Visual, and Nonverbal modes, this course will give you practice in analyzing the rhetorical strategies for articulating your own ideas about excessive accumulation, and the means through which those collections are transmitted. To investigate ways that dangerous assemblages from the past figure the present and the future, we will analyze William Shakespeare’s Hamlet and J.G. Ballard’s The Drowned World, as well as contemporary theory by authors such as Jane Bennett, Jeffrey Cohen, and Tim Morton. Over the course of the semester, you will compose a series of blog posts, film an introductory video, respond to reading quizzes, design a poster, write a literary analysis essay, produce a collaborative archival project, and curate all major assignments into a final, multimedia portfolio.

 

ENGL 1102: Science Fiction/Political Reality Instructor: Rittenhouse
Section E2: MWF 3-3:50 Skiles 317  
In this course, we will be taking a comparative look at the science fiction/speculative visions of Aldous Huxley’s Brave New World and George Orwell’s 1984, interrogating the extent to which either/both resemble our contemporary world. Working through academic Neil Postman’s assertion that “Orwell feared the truth would be concealed from us; Huxley feared the truth would be drowned in a sea of irrelevance,” we will look primarily at the phenomena of public discourse and news entertainment, developing competencies in information literacy, research, and critical thinking.

No single course can teach you all there is to know about becoming a “good communicator.” Instead, this course will teach you to inquire, to read, to understand, to question, and to come to one’s own conclusions on a variety of different subjects and mediums, and communicate these ideas well. While we will be working through classic sci-fi and speculative texts, the main objective is to learn to think and communicate in an effective manner. Unlike many “writing” courses you may have taken in the past, this course stresses GA Tech’s WOVEN concept, incorporating written, oral, verbal, electronic, and nonverbal forms of communication.

 

ENGL 1102: African American Rhetorics of Resistance Instructor: Jacobs
Section B2: MWF 11:15am-12:05pm Stephen C Hall 103

Section J4: MWF 10:10am-11:00am Stephen C Hall 103

Section L4: MWF 1:55pm-2:45pm Clough Commons 123

 

 
From the earliest days of American slavery, black people in America have been prolific producers of literature, music, and art. Such work has significantly contributed to genres like the slave narrative, the essay, the speech, music, and even science fiction. This course will examine these contributions as rhetorical tools, i.e. forms of communication intent on a specific goal: racial justice. As the artists and writers we explore confront segregation, legal discrimination, environmental racism, and more, we will examine the strategies they use and the supports upon which they rely, which include not only art, but community, religion, education, and the law.

 

ENGL 1102: Comics and Civic Engagement: Atlanta’s West Side Instructor: Misemer
Section F5: MWF 9:30am-10:45am Skiles 168

Section N1: MWF 12:00am-1:15am Skiles 269

 

 
You may think comics an odd fit for serious issues, but many organizations–from the UN to the Alzheimer’s Association–and authors have begun using them to explore and educate on such topics as the refugee crisis, medical issues, and violence against women. Why have these organizations turned to the comics form to communicate with their audiences? How does comics’ alchemical combination of text and image lend itself to discussions of social problems and their solutions, particularly regarding urban development? How can you use comics to engage members of your community? Answering these questions will help you gain a better understanding of the role text and image can play in communication, and selecting what to represent via text and image when making comics will help you learn how to more effectively use the tools at your disposal in today’s multimedia landscape.

 

In this course, you will explore how comics become tools for civic engagement and craft your own research-based comic about a topic related to Atlanta’s underserved West Side (just 1.5 miles from campus). The course will culminate in an exhibition designed to raise awareness about the issues and assets of this community. We will be focusing on comics as a mode of inquiry and communication, so no artistic skill is required. By the end of the course, you will be able to make thoughtful decisions about how to choose the right mode of communication—speaking, writing, or images—for a particular context.

 

ENGL 1102: The Rhetoric and Poetics of Dirt Instructor: Mullen
Section B4: MWF 11:15am-12:05pm Skiles 169

Section G8: MWF 12:20pm-1:10pm Skiles 169

Section L7: MWF 1:55pm-2:45pm Skiles 169

 

 
This course asks students to examine what we talk about when we talk about “dirt,” and how do the things we communicate about dirt change its presence in our lives. The major assignments facilitate learning goals through four units: dirt vs. soil, earthworks, dirt as story, and trendy dirt. The primary texts in this course will largely deal with a North American perspective on dirt. We will engage with American film (ex: Grapes of Wrath, Waterworld, Noma, Interstellar, The Martian, the Mad Max megaverse), contemporary American literature (Jesmyn Ward’s Salvage the Bones), Poetry@Tech events and those poets’ works (Aimee Nezhukumatathil, Christopher Collins, Bruce McEverStuart, Dischell, David Bottoms, and Tarfia Faizullah). Our shared vocabulary for discussing the written, oral, visual, electronic and nonverbal transferals of meaning will come from a selection of sources {selection from: Civilization and its Discontents (Freud), Imperial Leather (Anne McClintock), Rural Literacies (Eileen Schell), “What are people for?” (Wendell Berry), Dirt: The Erosion of Civilizations (David R. Montgomery), and Ecospeak: Rhetoric and environmental politics in America (Killingsworth, and Palmer)}.

 

ENGL 1102: Romantic Life: Authors and Scientists in the Age of Imagination. Instructor: Homar
Section A: MWF 9:05am-9:55am Skiles 314

Section G: MWF 12:20pm-1:10pm Skiles 314

Section J: MWF 10:10am-11:00am Skiles 314

 

 
“What is life?” asks Mary Shelley’s iconic scientist Victor Frankenstein and so did many of Shelley’s contemporaries known as the Romantic writers. This course explores the fertile intersection of literature and science in the British Romantic era, the early 1800s, when both scientists and literary authors explored the origins, nature, and porous boundaries of life in its many forms.

 

Far from simply celebrating nature, these authors were deeply invested in the era’s scientific and technological advancements, driven by questions that still drive us today: How do innovations help and harm life? What obligations do authors and scientists have to communicate complex ideas with the public? How to best represent scientific ideas in literary writing?

 

Starting with Shelley’s Frankenstein, often termed an early science fiction novel, we’ll explore the fragility, ambiguity, and wonder of Romantic life from the mythological worlds created by Mary’s husband Percy Shelley, William Blake, Samuel Taylor Coleridge, and John Keats, to the perilous lives in early industrial London depicted in Thomas De Quincey’s memoirs. We’ll also learn about the perspectives of the scientists who were the contemporaries and even personal friends of these visionary artists.

 

As we explore the fruitful connections between Romantic literature and science, we’ll use research and WOVEN communication techniques to consider how the insights of the Romantic era can help us make sense of science and technology today.

 

In the Romantic era, science and literature were both sites of experimentation as authors, inventors, and thinkers pushed the boundaries of knowledge and art. As you hone research and WOVEN communication skills, you, too, will experiment through writing, electronic annotation, infographics, video, and more.

 

ENGL 1102: Nature’s Rhetoric. Instructor: Colvin
Section G6: MWF 12:20pm-1:10pm Skiles 311

Section B6: MWF 11:15-12:05pm Skiles 311

Section L3: MWF 1:15-2:45 Skiles 311

 

 
This course explores how local institutions—including businesses, nonprofit organizations, and our own campus—variously advance and challenge received ideas about nature and sustainability. By analyzing the public-facing, multimodal rhetoric of these institutions, we will ask: how suitable are these ideas for a consideration of the complex environmental issues of our present age? Specifically, students in this course will analyze how projects at Georgia Tech (the Living Building project) as well as businesses and nonprofit organizations across Atlanta (including Zoo Atlanta, the Georgia Aquarium, Trees Atlanta, the West Atlanta Watershed Alliance, and others) conceive of “nature” and humans’ relationship to it. We will also examine several contemporary literary texts (poetry, creative nonfiction, and a novel) to advance and complicate our discussion of key concepts.

 

Throughout this course, students will practice how to structure and support arguments, engage in inquiry-driven research, produce meaning through situation-appropriate language, genre, and design choices, and critically reflect on our rhetorical strategies and the strategies of others. This course trains students to identify, employ, and synthesize the principles of written, oral, visual, electronic, and nonverbal (WOVEN) communication through informal and formal writing assignments, collaborative work, in-class discussion, group excursions, volunteer work, and presentations, as well as the use of a variety of digital tools

 

ENGL 1102: Victorian Digital Humanities Instructor: Holterhoff
Section HP2: MWF 12:20pm-1:10pm Hefner Dormitory(HEF) 001

Section A4:              MWF 9:05am-9:55am Skiles 317

Section B7:               MWF 11:15am-12:05pm Skiles 308

 

 
This course is designed to build on the critical thinking and composition strategies learned in ENGL 1101 by introducing students to key concepts in visual culture and digital humanities through the fictions and legacy of nineteenth-century British author H. Rider Haggard. The field of digital humanities has revolutionized the type of questions academics ask about texts, history, aesthetics, and culture. This course introduces students to the histories and principles of digital humanities using electronic literature, algorithmic analysis, archival studies, and new media. In order to better understand how ideas of remediation and computational cultures that have fundamentally restructured epistemologies of information, students will explore several examples of the tools, formats, and infrastructure that continue to revolutionize the creation and dissemination of knowledge production. By focusing specifically on ideas of design as they relate to user experience, visual rhetorics, screen culture, and image archives, students will be able to address how design acts as both social practice and intervention. Using case studies, workshops, and group projects this course provides experience assessing primary sources using computational methods. Students enrolled in this course will be evaluated on their successful engagement with course outcomes in rhetoric, process, and multimodality through the completion of written assignments as well as multimodal and digital projects.

 

ENGL 1102: The Medieval Fantastic Instructor: Howard
Section K3:             TR 8:00am-9:15am Skiles 317

 

 
Our subject in this class is the same kind of fantastic, romantic, or supernatural material that ends up in Game of Thrones, The Lord of the Rings, or any other medievalist fantasy. Medieval texts are rife with elements a modern reader would find improbable: knights who lose their head and put it back on themselves (Sir Gawain and the Green Knight), dragons who attack imprisoned women (St. Margaret of Antioch), people with faces in their chest (Mandeville’s Travels), and visions of unearthly love (Julian of Norwich). These elements – fantastic though they are – often have a broader cultural and rhetorical purpose. Through the improbable these texts confront how people imagined their place in the world as well as their relationships with people across that world, from the northernmost reaches of Scotland and the coasts of North Africa to Central Asia and beyond.

We will practice reading these texts as well as creating artifacts that practice WOVEN (written, oral, visual, electronic, and nonverbal) multimodal communication. These projects will range from a research article on a student website to a board game that adapts one of our texts into an experience of play. The overall goal is to make students better listeners, readers, and communicators.

 

ENGL 1102: Media Archaeology Instructor: Ellis
Section B2:                MWF 11:15am-12:05pm Clough Commons 131

Section G3:                MWF 12:20pm-1:10pm Skiles 170

Section J8: MWF 10:10am-11:00am Skiles 170

 

 
This class will explore a new way of looking at the history of media and technology. With one foot firmly in the past, and another far into the future, we will use old media to better understand new media, and vice versa. We will examine media that is dead, imaginary, and ephemeral. Week by week, our focus will alternate between old media technologies and cutting edge ones: from the panorama painting to VR, from Pong to the PS4, from 3D film to the 3D printer, from the Ferris wheel to the drone. Assignments will be analogously multimodal, and will improve your written, oral, visual, electronic, and nonverbal communication skills. We will go on a number of field trips—down into a map archive, over to a paper museum, up to the top of a skyscraper. A special focus will be reserved for moving images, for games, and for aerial views. As Walter Benjamin once said: those who “wish to garner fresh perspectives must be immune to vertigo.”

 

ENGL 1102: The Slasher Film: Gender, Disability, and Transgression Instructor: Browning
Section H1: TR 3:00pm-4:15pm Skiles 156

Section I:   TR 4:30pm-5:45pm Skiles 156

Section W: TR 6:00pm-7:15pm Skiles 156

 

 
What is a Slasher film? Perhaps better stated: What separates the Slasher film from the Horror genre proper? To help answer this, students will trace the evolution and visual aesthetics of the Slasher film through profiling the subgenre’s killer(s) and victim typologies, locating the subgenre’s loci across rural and sub/urban settings, and identifying conventions and motifs like the “final girl.” After examining early narratological precursors like Peeping Tom (1960) and Psycho (1960), students will continue on to the film Halloween (1978), which arguably inaugurated the subgenre, and afterwards examine the decade of the 1980s during which the Slasher film found its heyday. Finally, students will ascertain the current state of the Slasher subgenre through recent reboots and other related media.

 

Although students will be exposed to more mainstream incarnations like Friday the 13th (1980-) series, the class will also focus in equal (body) parts on a plethora of lesser known film installments (primary texts) that were produced on considerably smaller budgets. Slasher films were particularly marketed towards teenagers and young adults, and we will explore precisely how and why through secondary literature and class discussions. Other means at our disposal for investigating Slasher cinema will be an array of critical “weaponry” as it were, from Gender and Feminist Studies to Disability Studies. In the course of the semester, students will produce various written and multimodal projects and in the process enhance their written, oral, visual, electronic, and nonverbal (WOVEN) communication strategies. Note: The Slasher subgenre is notoriously sexualized and violent, so students negatively affected by either of these two themes, to any heightened degree, should avoid enrolling in this class

 

ENGL 1102: Standing Peachtree and Indigenous New Media Instructor: Murdock
Section H6:             TR 3:00pm-4:15pm Skiles 311

Section I2: TR 4:30pm-5:45pm Skiles 311

 

 
In this course, we will use Georgia Tech’s WOVEN curriculum (written, oral, visual, electronic, and nonverbal modes) to engage in critical thinking, articulate clear communication, and foster rhetorical awareness. Particularly this course will focus on indigenous new media. That is, the rhetorical practices of Native/American Indian communities and how those practices “make” meaning within indigenous communities. The course will consider ancient practices (such as petroglyphs), precontract practices (such as weaving, wintercounts), and post-contact practices (such as creative and academic writing, music, video games, apps, comic books, and other multimedia compositions) using a framework of “cultural rhetorics.”

By localizing class discussion as much as possible, this course will also consider how rhetorical practices are linked to local histories, place and space, and land. Before Atlanta, there was Pakanahuili, or “Standing Peachtree.” This place was once located at where Peachtree Creek meets the Chattahoochee River— not too far from the Tech campus. Now, at that location stands a water treatment plant which provides water to the city. We will place institutional texts (such as archaeological reports and water works reports) into conversation with local oral histories and Indigenous rhetorical practices to constellate various ways that the story of Standing Peachtree has been, is, and could be mediated.

This course will train students to identify, employ, and synthesize the principles of written, oral, visual, electronic, and nonverbal (WOVEN) communication through a variety of informal and formal writing assignments, collaborative work, conversation, workshops, while likewise emphasizing new media practices. The course will use both seminar and workshop approaches to teaching.

 

ENGL 1102: Harry Potter and the Material Object Instructor: Hoffman
Section B3:             MWF 11:15am-12:05pm Stephen C Hall 106

Section C4:             MWF 8:00am-8:50am Clough Commons 123

Section J7: MWF 10:10am-11:00am Clough Commons 127

 

 
Though we often believe that we, as individuals, are separate entities from the things in our lives, everyday objects – books, computers, phones, silverware, clothing – are integrated parts of our lives and existences. In this course, we’ll consider how J.K. Rowling’s Harry Potter series, a cultural phenomenon that has affected a wide audience in the twenty years since it was first published, transcending age, gender, race, and class barriers, portrays objects and the interactions between objects and characters in Rowling’s novels. Materiality functions much differently in the fictional Wizarding World than in reality, so that a book or a broomstick might engage with a character independently of their wishes, and things (with a few exceptions) can be created, erased, or transformed with a thought. We’ll be reading the novels and exploring some theories of human/object interactions, as well as learning new ways to think about the material world and communicating those idea through multiple modes, both digital and analog. Students will design and create their own material objects, present them to an audience, and analyze how objects and humans’ interactions with them can reveal meaning and significance in both fictional worlds and the world which we inhabit. Things are everywhere – how are we connected to our things, and how are they becoming part of ourselves?

 

ENGL 1102: The Stranger Instructor: Hwang
Section D4:             TR 1:30pm-2:45pm Stephen C Hall 106

Section F6: TR 9:30am-10:45am Clough Commons 131

Section N4:             TR 12:00pm-1:15pm Stephen C Hall 103

 

 
The stranger leaves and enters space without appearing to alter it. Not necessarily alien (darker than others, speaking a different language, misunderstood), the stranger nevertheless has no home, wanders even as he or she stays. Is this the paradigm of the artist? Does the artist play the role of the alien, the foreign, the pariah? And how do our interactions with strangers affect our suspicious, ethical, or exotic fascination with other worlds? This course will discuss the inquiries to examine the ways representations of the stranger shape our understanding of the contemporary world. The goal of this course is to address rhetorical principles, research practices, and multimodal composition so that students can be more capable readers and writers, listeners and speakers, collaborators, viewers and designers in a variety of settings. With this goal in mind, we will complete projects that enhance our written, oral, visual, electronic, and nonverbal (WOVEN) communication skills while honing our ability to think and talk critically about the ways we perceive others and interact with them in our globalized world.

 

Along with the WOVENText, which will serve as our guide to multimodal communication, we will use a wide variety of genres, including fiction, short essays, TV show clips, journal articles, films, and digital texts. As we discuss the materials, we will create diverse projects employing WOVEN modes: critical analysis and reflection papers, archiving digital collections, blog posts and responses, poster assignment, multimodal portfolio, and collaborative video projects. Working on these projects, students will learn to develop a process of writing, explore diverse contexts and styles of reading, write in appropriate academic genres and computer media to communicate with different audiences, and practice disciplines of research and study. The course’s hybrid structure will also help students learn to navigate digital spaces, 21st century communication strategies, and college-level collaborative projects

 

ENGL 1102: Afterlives of Slavery: Instructor: Ioanes
Note: this course will be taught as a hybrid course, meaning that a significant percentage of class meetings will be conducted online.

 

Section D3:             TR 1:30pm-2:45pm Clough Commons 125

Section F3: TR 9:30am-10:45am Skiles 171

Section N8:             TR 12:00pm-1:15pm Skiles 171

 

 
Using a WOVEN approach to communication that considers the interrelationship between Written, Oral, Visual, Electronic, and Nonverbal modes, this course will give you practice in analyzing the rhetorical strategies of others and discerning the most successful strategies for articulating your own ideas. Emerging from Saidiya Hartman’s insight that the legacy of transatlantic slavery has profoundly shaped contemporary political and cultural life, this class will explore how writers, artists, and performers respond to and remake that legacy. “Afterlives of Slavery” is a course about how our understanding of the past is mediated and even remade through cultural forms. By analyzing the rhetorical strategies and implicit arguments artists and writers make about how to represent a past that is at once inaccessible and immediate, we will hone cultural literacy and expand our repertoire of of interpretive and creative strategies. The course will consider the affordances of creative genres for responding to the social and material legacy of slavery and the ways representations shape our understanding of the contemporary world. Assignments will contribute to a digital encyclopedia documenting contemporary portrayals of transatlantic slavery.

 

ENGL 1102: Poetry, Painting, Film, and Music in New York City, 1960-Present Instructor: Sturm
Section G1: MWF 12:20pm-1:10pm Skiles 171

Section J6: MWF 10:10am-11:00am Skiles 171

Section L5:             MWF 1:55pm-2:45pm Clough Commons 125

 

 
This course will utilize poetry, painting, film, and music from New York-based writers and artists to explore the multimodal languages of American art practices. By activating the etymological root between the words experiment and experience — “experiri,” meaning “to try or to test” – this course will try and test various creative and critical approaches to the arts to gain both an experiential and historical understanding of aesthetic innovation in the global cultural center of New York over the last half century. Utilizing our WOVEN curriculum, students will engage with visual and nonverbal design through trips to Atlanta’s High Museum of Art and Arts@Tech events, create data visualization projects to track developing trends across genres and mediums, and experiment in hands-on creative practices with era-specific technologies to produce their own original cultural artifacts. Artists such as Eileen Myles, Andy Warhol, Amiri Baraka, The Velvet Underground, Ana Mendieta, Jay-Z, and Alex Katz will populate the syllabus.

 

 

ENGL 1102: Defending Society. Instructor: Coblentz
Section B:  MWF 11:15am-12:05pm Clough Commons 123

Section C1: MWF 8:00am-8:50am Skiles 311

Section J1: MWF 10:10am-11:00am Clough Commons 123

 

 
Is reading fiction safe? While picking up the latest bestseller may not seem like a risky venture, the influence of the fictional worlds encountered through literature has been an enduring source of anxiety in the history of Western thought. Defending Society begins with Sir Philip Sidney’s famous early work of literary criticism, Defense of Poesy (1595). We will explore why Sidney and his contemporaries felt that poesy, or fictional writing, needed defending in the first place – who attacks fiction and why? What makes literature dangerous, whom does it threaten, and what were seen as its most alarming aspects? To answer these questions, we will read through controversial texts – and reactions to them – from the Renaissance to the twenty-first century. Our readings draw from works such as Ben Jonson’s comedy, Bartholomew Fair, Eliza Haywood’s novella Fantomina, and John Milton’s political poetry.

Students will develop their expertise in written, oral, visual, electronic, and nonverbal (WOVEN) modes of communication through a series of assignments. These projects include a research paper, a PechaKucha-style presentation, a collaborative web project, and a final portfolio. Throughout, students will practice asking, researching, and answering original questions.

 

ENGL 1102: The Beat Generation Instructor: Marzoni
Section F2: TR 9:30am-10:45am Skiles 156

Section K2:             TR 8:00am-9:15am Skiles 314

Section N2:             TR 12:00pm-1:15pm Skiles 156

 

 
This course will study the theory and practice of writing and communication through the contributions of the Beat Generation. We will read key texts by the literary movement’s core members––Jack Kerouac, Allen Ginsberg, and William S. Burroughs––as well as its lesser-known figures, predecessors, and heirs: from LeRoi Jones/Amiri Baraka and Diane di Prima to Patti Smith and Kathy Acker. We will trace the history and legacy of the Beats by following the lectures of Ginsberg’s own course on the subject, which he taught at universities across the U.S. (compiled in 2017’s The Best Minds of My Generation: A Literary History of the Beats). We will consider documentary films, journalism, and periodicals from the era alongside more recent Hollywood adaptations of Howl, On the Road, and Naked Lunch. We will encounter coterminous happenings in the arts (the New York schools of poetry, painting, and film; bebop and rock and roll) at museums, archives, concerts, and readings; track the Beats’ wanderings from Manhattan to San Francisco, Paris to Tangier, Calcutta to Mexico City; and experiment with their literary techniques––all in the effort of discovering what this queer formation of Cold War discontent can teach us about 21st-century communication practices in addition to American cultural history. Assignments and class discussions will emphasize written, oral, visual, electronic, and nonverbal communication, and the course will culminate in a digital portfolio.

 

ENGL 1102: Haunted Americas Instructor: King
Section D: TR 1:30pm-2:45pm Clough Commons 127

Section F4: TR 9:30am-10:45am Skiles 169

Section N3: TR 12:00pm-1:15pm Skiles 169

 

 
In this section of English 1102, we will engage with the theme of hauntings in the United States. Films and   writing from various temporal and   cultural contexts will lead   us to explore   questions such as: How have representations of cultural “outsiders” changed throughout time? How have the literatures and artwork of people colonized in the U.S. appropriated and transformed popular myths for their own purposes? How do “the colonized” attempt to work through the unspeakable atrocities of history via representations of a haunting past? Using Bram Stoker’s Dracula as a starting   point for our   study, we will   question popular understandings of how the “outsider” invades cultures, and from there we will move into deciphering how other “haunting” presences—such as ghosts   and vampires—in twentieth   and twenty-first century   fiction and films operate within the context of colonization in the U.S. The projects for this course will result in a diverse portfolio that might include, but will not be limited to, forum responses, PowerPoint presentations, annotated scene analyses, and scholarly video essays. Students will work toward a team project that examines a culturally “haunted” space in Atlanta.

 

ENGL 1102: The New American Girl Instructor: Wilson
Section E1:             MWF 3:00pm-3:50pm Stephen C Hall 106

Section G5:             MWF 12:20pm-1:10pm Skiles 302

Section L:  MWF 1:55pm-2:45pm Stephen C Hall 106

 

 
Since the inception of the teenager in the United States in the 1940s, the teenage girl has maintained a fraught relationship with those who wish to discuss her. She is both praised as an insightful trendsetter and dismissed as a flighty fangirl; she is deemed shallow and frivolous but is also recognized for her limitless potential. In the twenty-first century, these dividing lines between dismissal and expectation have only grown more entrenched, with the internet and social media placing on display the best and the worst examples of what it is to be a teenage girl in the United States.

In this course, we will seek to redefine the American teenage girl as she exists today. Through a combination of young adult novels, television, magazines, and other media, we will challenge our notions of who the “stereotypical” teenage girl has historically been—white, cisgender, heterosexual, middle-class, able-bodied—and try to replace them with a more representative vision of who the teenage girl has become. We will use the WOVEN curriculum to engage with this topic of conversation, making our communication work as diverse and multifaceted as the subject of our course.

 

ENGL 1102: The History and Rhetoric of Science Writing for Children Instructor: Fitzsimmons
Section B5: MWF 11:15am-12:05pm Clough Commons 127

Section C3: MWF 8:00am-8:50am Stephen C Hall 106

Section J2:MWF 10:10am-11:00am Stephen C Hall 106

 

 
Books for children, both fiction and non-fiction, can address scientific principles in creative ways in an attempt to educate, inform and excite young children. Hidden inside many classic children’s texts are broad scientific concepts like climate change (Cloudy with a Chance of Meatballs), engineering (The Three Little Pigs), life cycles (The Very Hungry Caterpillar), and environmentalism (The Lorax). Other newer texts, like Babies Love Quarks are designed to help entice even the youngest children to love science, as a response to the STEM “crisis” in American education. In this writing course, students will embrace the rhetorical challenges of addressing complex scientific principles in visually appealing formats and child friendly language through research, annotation, presentation, and creation. Students enrolled in this section should plan to (as Miss Frizzle says in the Magic School Bus series) “Take chances, make mistakes, get messy!”

As a class, we will explore the historical scope of science writing for children by interacting with digital archives of children’s books from the 1800s. Students will engage in original research on authors of science books for children, focusing on authors who are largely unrecognized or texts that have fallen out of circulation. Students will make their research public through social media (i.e. keeping a research journal on Twitter) and public dissemination of information (i.e. creating or editing Wikipedia pages, presenting information to the class orally). Students will use this research, as well as visual analysis and digital annotation, to create an online exhibition of historical science texts for children. These exhibitions will require students to place the text into historical, scientific, and technological context; students might add notations about the developments in book publishing apparent in the text, the evolution of the scientific theories advanced in the texts, or changes in the ways in which scientific discourse has shifted over time. Finally, working in teams, students will compose, illustrate, and create non-fiction picture books for children. Topics for these books might include a biography of the scientist or author they profiled in Unit 1, a scientific concept important to the students’ field of study (such as mechanical engineering or computer science), or an important scientific discovery or technological concept (such as the landing of the Mars Rover Curiosity).

 

ENGL 1102: Evolutions Instructor: Krafft
Section HP1: TR 9:30am-10:45am Stephen C Hall 103

 

 

 
“The beauty of a living thing is not the atoms that go into it, but the way those atoms are put together.” – Carl Sagan, 1990

Our section of ENGL 1102 will examine evolution as it relates to the changing face of humanity, our responsibilities as creators, and the development of other forms of life that we might identify as alien, monstrous, or weird. We will think about how our own bodies evolve (or devolve) as we merge with machines, animals, or extraterrestrials, resulting in cyborgs, speciation, and posthuman entities. By studying films like Alien and the work of authors such as Terry Bisson and Octavia Butler, we will reflect on the implications that emergent beings have for anthropocentrism and the concept of normalcy. Furthermore, we will consider how advances in biotechnology, genetic engineering, artificial intelligence, and other fields might bring to life new and formerly impossible creatures.

We will not only explore multiple evolutionary pathways through science fiction and contemporary technoscientific inquiry but also articulate researched and thoughtful arguments through multimodal (or WOVEN) projects. Prospective projects for this course include a cyborg analysis of science fiction texts, an in-depth research project exploring contemporary developments in evolutionary studies, and the creation of a speculative vision of humanity’s future form.

 

ENGL 1102: Atlanta Studies: Reading, Documenting, Digitizing Instructor: Dischinger
Section HP3: MW 3:00pm-4:15pm Hefner Dormitory(HEF) 001

Section S: MW 4:30pm-5:45pm Skiles 317

Section V: MW 6:00pm-7:15pm Skiles 317

 

 
Upon its 1939 release, Gone with the Wind became the highest grossing film of all time. Its nostalgic representation of Atlanta as America’s Southern City is among the most popular of all time, but it was certainly not the last or, dear reader, the most interesting. In our course, we will explore a range of contemporary texts depicting Atlanta that represent competing versions of the city. We will ask what these texts reveal about the near constant evolution of Atlanta as well as consider what a continued national and global interest in Atlanta can tell us about various viewing publics. As we explore these Atlanta texts, we will use digital tools to map their terrains, describe their features, and analyze their import.

In addition to our work with Atlanta texts, we will work with community partners in collaboration with Serve Learn Sustain at Georgia Tech. Our work will combine ideas related to storytelling, oral history, and sustainability to broaden the scope and impact of our work in the classroom.

 

ENGL 1102: Why Fantasy and Science Fiction Matter. Instructor: Eichel
Section A3: MWF 9:05am-9:55am Skiles 311

Section J3: MWF 10:10am-11:00am Skiles 311

 

 
We live in a world that many previous generations could hardly have imagined, and developments in science continue to make this century potentially the most expansive in terms of technological advancement. Although we are immersed in the Internet and nearly dependent on various smart devices, we are also more obsessed than ever with that which lies outside the boundaries of contemporary science and our understanding of reality. We call it many things: science fiction, speculative fiction, fantasy literature–more generally, it is the “fantastic.” Fantasy fills our TVs and movie screens, it populates our phone, computer, and console games, and it is one of the most popular literary genres. Why? Why is Game of Thrones the most successful TV series of all time? Why are comic book characters now the driving force in Hollywood? Why, when we have the fruits of technology and scientific progress everywhere around us, must we resort to fictions that rely on non-mimetic aesthetics and styles?

Some people claim the fantastic is mere escapism—we use it to flee from reality and this is a bad thing because reality is all we have. Others argue instead that fantasy allows us to imagine a better world in order to improve our own. In this course, we will embark on an investigation of what fantasy is (and what it isn’t), why our brains seem to be hardwired to enjoy it, and what role it has in a technologically advanced society. We will discuss everything from ancient myths to superhero movies, Disney to The Lord of the Rings. This is not a literature class so we will focus on what writers, intellectuals, teachers, scientists, artists, and critics have said or written. To properly conduct these investigations, you will complete a number of individual and group projects that improve your fluency in the WOVEN modalities by enhancing your knowledge of a wide array of rhetorical, stylistic, and communication strategies.

 

ENGL 1102: Fact, Fiction, and the Women’s Liberation Movement Instructor: Forsthoefel
Section D2:             TR 1:30pm-2:45pm Clough Commons 123

Section F9: TR 9:30am-10:45am Clough Commons 127

Section N:  TR 12:00pm-1:15pm Skiles 168

 

 
In this class, we will study fiction set during the women’s liberation movement by authors such as Alix Kates Shulman, Marilyn French, and Marge Piercy. We will examine these fictional accounts in light of feminist history, theory, journalism, scholarship, and various popular culture and multimedia portrayals of women’s liberation to understand the ways in which feminism was understood and defined and how that influences our definitions at the present moment. We will consider questions such as: What has it meant to be a feminist in the past? How is that definition similar to and different from what it means today? Who is the authority on what constitutes feminism and what makes communities identify with or distance themselves from the label “feminist”? How much do fictional narratives or messages about feminism in media and culture affect our own experiences of it? Have these narratives or portrayals or images changed over time? As a class, we will read, view, and listen to a variety of “texts” that inquire after these issues, and we will create various artifacts (using our WOVEN curriculum) that raise questions, provide depth personally and academically, and analyze the issues and the cultural artifacts.

 

ENGL 1102: Building a Better World. Instructor: King
Section L6: MWF           1:55pm-2:45pm Skiles 171

 

 

 
Worldbuilding is big business. Series like Game of Thrones, Star Wars, Lord of the Rings, and The Witcher have succeeded in large part because of their worlds. They provide readers, viewers, and players an interesting intellectual space to inhabit, but more than attracting fans, quality worldbuilding can reflect critically on the real world. By studying various authors’ meticulously constructed worlds, from China Miéville’s Bas Lag to the Faerun setting in Dungeons and Dragons to N.K. Jemisin’s “The Stillness,” students will explore and analyze how new worlds re-envision and replicate our world. Constructed worlds refract real cultural and political realities through invented and imaginative lenses, and by exploring and creating new realities, students will learn how to meticulously analyze and discuss imaginary worlds and their impacts on the real one. Finally, worldbuilding provides an intellectually and creatively challenging way of reflecting on the self and its place in the real world. In this course, students will write rhetorical analyses of an author’s constructed world, research how real-world issues are reflected in constructed worlds, create and analyze multimodal artifacts from a different world, and, finally, construct their own planned and critically aware world.

Course texts will include Miéville’s Perdido Street Station, Jemisin’s The Fifth Season, Ursula K. Leguin’s A Wizard of Earthsea, and the Dungeons and Dragons adventure Tomb of Annihilation.

 

ENGL 1102: Sensational Bodies in Nineteenth-Century Literature Instructor: Harrison
Section D5: TR 1:30pm-2:45pm Skiles 171

Section   F1: TR 9:30am-10:45am Stephen C Hall 106

Section N6: TR 12:00pm-1:15pm Stephen C Hall 106

 

 
With the pseudoscientific, scientific, and technological advancements that accompanied the Industrial Revolution in the nineteenth century, new curiosities emerged about bodies: the study of bodies, the appearance of bodies, what constituted a “natural” body and, thus, an “unnatural” body. Prevalent Victorian ideas about bodies are often evocative of those we see in literature, science, and popular culture today, with bodies constantly being compared to the ideal, the typical, the “natural.” This course will explore literary and cultural bodies through the lens of nineteenth-century sensation fiction, which was meant to shock its audiences. We’ll define “sensation” as a literary and cultural term, and will ask such questions as: What makes a (physical or textual) body “sensational”? Are all bodies sensational in some ways?

 

With the pseudoscientific, scientific, and technological advancements that accompanied the Industrial Revolution in the nineteenth century, new curiosities emerged about bodies: the study of bodies, the appearance of bodies, what constituted a “natural” body and, thus, an “unnatural” body. Prevalent Victorian ideas about bodies are often evocative of those we see in literature, science, and popular culture today, with bodies constantly being compared to the ideal, the typical, the “natural.” This course will explore literary and cultural bodies in the Victorian period, asking such questions as: What makes a body “normal” or “natural”? In what ways can bodies be construed as “unnatural” or “odd”? Are not all bodies, in some ways, “odd”? How do Victorian representations of odd bodies echo discussions of bodies today?

While sensational bodies are our topic and Victorian England is our setting, our goals concern communication and critical thinking. You will use the course topic to hone your understanding of the various rhetorical processes involved in effective communication. You will learn to identify relevant questions about an issue, synthesize multiple perspectives, assess the soundness of a position, revise your work based on feedback, and apply your research to real world issues. The course will also help you formulate and defend your point of view through written essays, oral presentations, visual analysis, and through electronic and nonverbal communication.

 

 

ENGL 1102: “I Too Dislike It”:   Poetry and Its Discontents. Instructor: Fallis
Section D6:             TR 1:30pm-2:45pm Skiles 170

Section I3: TR 4:30pm-5:45pm Skiles 170

Section N5:             TR 12:00pm-1:15pm Skiles 170

 

 
What is poetry, exactly? What is it for? What does it do that other types of writing or art don’t? Why do so many people actively dislike (even hate) it, and why do so many people also actively love it? What about it is so polarizing and unique? Beginning our discussion with two recent books of popular criticism, Ben Lerner’s 2016 “The Hatred of Poetry” and Matthew Zapruder’s 2017 “Why Poetry?”, we will attempt a brief survey of the complex landscape of 21st-century American poetry and also examine some of the high (and low) landmarks of poetry, mostly in English, in the nineteenth and twentieth centuries. Students will attend Poetry@Tech readings, write poems of their own, and create multimodal representations of individual volumes of poetry.   To break things up a bit, we will also read at least one novel by/about a poet and watch at least one movie by/about a poet, as well.   Emily Dickinson said that poetry made her “feel physically like the top of [her] head were taken off.”   Robert Frost said it’s “what gets lost in translation.” Marianne Moore called poetry “all this fiddle” but also said that it’s where we can find “imaginary gardens with real toads in them.”   The composer John Cage said, “I have nothing to say, and I am saying it, and that is poetry as I needed it.” By the end of the semester, we will add our own definitions, divagations, opinions, and complaints about poetry to theirs.

 

ENGL 1102: Lost in Neverland: A Survey of British Literature. Instructor: Weng
Section C2:             MWF 8:00am-8:50am Stephen C Hall 103

 

 

 
This course will introduce students to British literature. Rather than focus on a single genre or time period, we will read a variety of forms from different ages, including medieval poetry, renaissance drama, Victorian fiction, and modernist prose. Although these readings will not take us directly to “Neverland,” through them, we will travel into distant geographies of the past. We will aim to understand not just the forms of our texts but also their historical contexts. As this range of readings sweeps us into new settings, we will question how these settings and literary forms characterized their generations. What about them spoke to their original audiences? How do they speak to us today? As a class, we will produce projects that likewise prompt us to consider our own settings, forms, and audiences. These multimodal assignments will challenge us to grapple with how our own written, oral, visual, electronic, and nonverbal forms of communication may represent our texts and reveal new insights into British literature at large.

 

ENGL 1102: Postcolonial Voices: “Can the Subaltern [Woman] Speak?” Instructor: Weng
Section HP4: MWF 9:05am-9:55am Stephen C Hall 103

 

 

 
During the 20th century, European empires crumbled, and colonies in South Asia, Africa, and the Caribbean fought for and attained independence. Despite these victories, however, the inhabitants of these regions struggled to articulate their individual, cultural, and national identities. Our course will study this “postcolonial condition” through the lens of Gayatri Chakravorty Spivak’s seminal essay, “Can the Subaltern Speak?,” a work that she delivered first as a lecture in 1983 and published later in 1988. In the essay, Spivak meditates on hindrances that prevent people on the margins of society (which she calls “subalterns”) from being heard—from being able to advocate politically on behalf of themselves and others. In particular, Spivak draws from examples of women in Indian society. But how does she answer her question?—Ambiguously.

Since the publication of Spivak’s essay, scholars have taken an interest in debating her question. They have also developed a wide body of criticism interested in the position of subaltern women. This turn toward women’s experiences differs from practices in the past, which often spoke of colonized subjects from a “male gaze”—from a defaulted perspective of a male subject. Yet men and women experienced colonization and decolonization differently, including acts of violence, which women were often more vulnerable to, as well as the right to take part in forging new postcolonial states. By reading a range of texts written by South Asian, African, and Caribbean women writers, our course will study these women’s experiences and attempt to answer Spivak’s question: “Can the subaltern [woman] speak?”

We will explore this question through individually- and collaboratively-composed projects that hone our multimodal communication skills, including our Written, Oral, Visual, Electronic, and Nonverbal forms of communication.

 

 

ENGL 1102: Sound Poetics x Sound Politics. Instructor: Neefe
Section A2:             MWF 9:05am-9:55am Skiles 171

Section B8:             MWF 11:15am-12:05pm Skiles 171

Section C:  MWF 8:00am-8:50am Skiles 308

 

 
This course requires students to build on the WOVEN strategies of composition and process they began to develop in ENGL 1101. The content of the course asserts the importance of sound to our experience of the spaces we live in. We begin by building a vocabulary for recognizing and analyzing sounds in what R. Murray Schafer called a “soundscape” and by paying closer attention to how we hear and listen to our environment. A second unit uses the critical controversies surrounding the Romantic lyric poem, exemplified by William Wordsworth’s “Tintern Abbey,” to examine the sonic qualities of poetry and the soundscapes represented in them. If we think of a poem as a place, what are the political stakes of sound and voice in defining that space? Who belongs in a place and who doesn’t? Modeled on the Ivan Allen College Building Memories podcast, a final project will involve researching the politics of sound and place in locations around Georgia Tech and Atlanta, including the Living Building newly under construction. Divided into small teams, the class will pitch, storyboard, and produce podcast episodes about the sites and sounds they investigate. A final reflective portfolio will select and assemble individual artifacts and process documents to demonstrate rhetorical improvement.