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Department of English Undergraduate Course Descriptions

These descriptions only include courses that would be part of the English major as well as minors offered by the department. A complete schedule of courses offered by the Department of English is available here. Please note that course information is subject to change.

Summer A 2022

CRW 2600-54166: Introduction to Screenwriting (Boka, DL)

This course covers the basics of the craft of screenwriting such as formatting, structure, theme, character, and more. Students will pitch movie ideas, write a treatment, outline, and learn scene construction for a feature film. Students will participate in workshops to further develop their work and apply lessons to the development of the work of their peers. 

CRW 3110-54764: Fiction Workshop (TBA, MW 6:10-9:40)

Students will share and critique drafts of their work. These critiques will help students develop a final portfolio. Students will produce at least two substantial submissions. Students will read exemplary fiction.

ENC 3310-53708: Writing Prose (Beasley, DL)

In ENC 3310, we will examine three of the most widely-held writing rules in American institutions in the 21st century: that every paper must have a thesis statement, every paper must be free from grammar error, and every paper may only examine one topic. In short, ENC 3310 is truly an intermediate writing course. By intermediate, I mean that it serves as a pause, a time to examine the writing you have already done, but also a time to anticipate and identify the writing you would like yet to do. We will examine the difference between the effect your writing has had, and the affect you would like it to have.

FIL 4828-54355: Movements in International Film (Smith, 9-12:30)

This class teaches you the skill of seeing film. The course is designed to give students an overview of international cinema through its history. We will focus on national film movements that have been recognized for their influence on the development of cinema world wide—American Romantic Realism, German Expressionism, Soviet Montage, French New Wave, and more—in order to get a sense of film vocabulary, film style, film technique, and some film theory. We will also read about the historical context for certain films and movements in order to get a sense of the politics of film. Students will be expected to read essays, write reflections on all of the films, and engage a number of creative assignments. The goal of the course is to provide an introduction to international cinema, cinema history, and film analysis.

Fall 2022 

AML 2020-81932: American Literature II (Welling, MW 12-1:15)

We’re living at an extraordinary time in history. The next ten years or so will constitute an especially crucial turning point, with implications for tens of thousands of years to come. In light of the tremendous power that modern humans have acquired to transform every square inch of the planet, many scholars have begun referring to our era as the Anthropocene, the Age of Humans. We’re essentially making an enormous collective choice—a choice that we have no legitimate right to make, but one that we can’t avoid making all the same. Will future Earthlings, human and otherwise, inherit a world not too different from the one we inhabit now? Alternately, will our descendants and their nonhuman neighbors live on a hell planet characterized by out-of-control mass extinctions, total climate meltdown, runaway flooding of coastal regions by poisoned seas, civilization-wrecking monster storms and wildfires, and bloody wars over petroleum and coal, clean water, and other things that we currently waste without a second thought? Or could there be another option? Could it be possible for us to bequeath to the future a more just, wild, and healthy ecosphere than the one we all know? The answer depends on all the choices, small and big, that we make in our ordinary lives: what we eat, how we get around, how we power our homes, where we get our news, and what kinds of leaders we elect. Regardless of how you feel about “the environment,” and no matter what anyone has told you or failed to tell you about global warming and other “environmental” issues, you have as much of a stake in Earth’s health as anyone else—and, I would strongly argue, you have a weighty responsibility to live with that health in mind.
“But what does all this have to do with American literature?” Just as the United States has led the world in developing the technologies and modes of capitalist economics that are currently destroying the world, writers in the U.S. have long worked at the forefront of thinkers questioning the rightness and wisdom of this way of life. Far from merely celebrating rocks and trees, authors who focus on questions about our place in the biosphere and our relationships with nonhuman beings can challenge our most deeply help assumptions about who we are and how we live. Moreover, they can help us envision a future defined not by scarcity and conflict but by greater abundance for all the world’s species and cultures. The tradition that Henry David Thoreau’s Walden; or, Life in the Woods (1854) helped usher in has played a major role in the creation of national parks and the preservation of wilderness areas, but it has also participated in key debates on issues that affect the lives of people in the heart of the city. And creators of eco-media increasingly focus on the intersectionality of environmental problems—for example, how global warming is a moral issue as much as (or even more than) it is a technological and political challenge, because the people who have benefited the least from burning fossil fuels are paying the heaviest price for the developed world’s petro-prosperity. I and other practitioners of Earth-oriented humanities scholarship—ecocritics—share eco-artists’ concern over the plight of humanity and nonhuman life, and work to illuminate how artists’ representations shape audiences’ ways of thinking and feeling about our common planetary home.

Environmental writers, image-makers, and critics will continue to light our way as we move (I hope!) towards greener sources of energy, wiser systems of transportation, and cultures centering on sustainability and compassion rather than hyper-consumption and techno-narcissism. In short, if you’re interested in literature that has the potential to spark profound transformations in how people think, work, eat, shop, build, get around, and even express themselves spiritually, and if you’re interested in learning how to analyze environmental media ecocritically, then this class is for you.

AML 3154: Barely There: Minimalism and Poetry (Lunberry, TR 10:50-12:05)

“To see the Summer Sky

Is Poetry, though never in a Book it lie—

True Poems flee—"


- Emily Dickinson (Poem #1472)


This course will focus upon various instances of (mostly) American poetry in which the language on the page is deliberately limited, often suspiciously spare, or even, at times, barely there. The words presented, as if uncertain of themselves, will nonetheless frequently call even greater attention to their point, placement, and purpose, with the accompanying whiteness of the surrounding page suddenly more forcefully seen in its seeming silence. What’s to be said, so simply? What remains, of what remains? And how many words, really, are needed to speak of that which—like a “Summer Sky”—can’t be spoken, and of which “True Poems flee—"? Among the “minimalist” poets to be read are Emily Dickinson, William Carlos Williams, Robert Creeley, Robert Lax, Aram Saroyan, Larry Eigner, Rae Armantrout, Susan Howe (and assorted others); we will also spend time reading/looking at the work of a number of contemporary visual poets, as well as instances of language’s use in modern and contemporary visual art.


View a full-color course flyer here.

AML 3621-81565: Race and Citizenship / Black American Literature (Leverette, TR 12:15-1:30)

In the early 1900s, WEB Du Bois wrote of double consciousness, the reality that black Americans are divided in terms of racial and national identity. In the mid 20th Century, James Baldwin extended this understanding, recognizing that race is a central, though purposely ignored, component of American identity and that blackness must often be erased for one to be deemed an American citizen. Many contemporary authors continue to grapple with the idea of double consciousness and with the metaphorical and literal assaults upon black bodies. They have carried forward Baldwin’s assertions about the exclusive nature of American citizenship and have attested to the violent responses black bodies encounter. Beginning with Du Bois and Baldwin, we will explore these ideas and then read contemporary authors to investigate questions of race and nationhood. In particular, we will consider how black bodies are both necessary for and excluded from definitions of American citizenship, how cultural memory and ancestry illuminate black selfhood, how double consciousness functions contemporarily, and how Afrofuturism might offer useful insights for the future of the U.S.

CRW 2201-81933: Introduction to Creative Non-Fiction (Ziegler, MW 10:30-11:45)

What is nonfiction? It is described, by its title alone, by what it is not. It is not fiction. And that is the only clue we have of this sprawling genre filled with voices from the culinary world, the travel world, the world of loss and laughter and…car manuals? In this nonfiction class we will not only read luminary essayists but also question the very genre itself. However, we will not merely ask “what is nonfiction?” but rather reframe the conversation as “what isn’t nonfiction?” Is fiction truly just thinly veiled memoir? What do we do with these pesky poets who draw from personal experience? Do we, as essayists, steal from other genres, or do they steal from us? Prepare to flex your writing muscles in this class. We will be writing constantly and questioning closely this genre that defies definition. Abandon all expectations, all ye who enter here.

CRW 2300-80498: Introduction to Poetry Writing (Stark, TR 12:15-1:30)

This course will push you onto a journey to learn how to engage with one of the most distilled and radical forms of art in history: poetry. In order to do so, we will read both widely and closely. We’ll read a diverse range of poems from different historical periods, written in a wide range of forms and styles. As we explore, we will ask many questions such as: why is poetry important? What does it do? What does poetry teach us about language, our surroundings, and/or ourselves? What’s the use in the frustration that so many of us experience when faced with poetry? Can such feelings become pleasurable? We’ll respond to poems, analyze them, listen to them and write about them; there will be opportunities to play with translating, editing, and visually presenting them, as well as with writing and performing them. We will familiarize ourselves with critical, literary terminology (e.g. voice, pastoral, metaphor) in order to enrich our understanding of poetry and practice interpretive, analytic writing in the process. Good writing (of any kind) always starts with good reading, so we will also be reading poems, interviews, and short essays, looking for techniques to “steal” whenever possible. And, since the best of poetry and writing is that which sticks in our memory, stays in our body, and lives with us until the moment when we most need it, we will each memorize and recite one poem. At the end of our journey, you’ll find that poetry, though often demanding, can offer complex emotional, imaginative, and intellectual pleasure as well as a means for agitating the world in which we live and share.

CRW 2930: Short Form Creative Writing (Ari)

CRN 83229 (TR 1:40-2:55)

CRN 83230 (TR 3:05-4:20)

This course focuses on brief works (500-1000 words and fewer) to explore student interests and open new possibilities. Using constraint-based prompts, students experiment with a variety of approaches to fiction, creative nonfiction, prose poetry, and/or hybrid works. Risk-taking is encouraged. Laughter is relished.

CRW 3930-82376: Mysteries and Thrillers (Wiley, TR 4:30-5:45)

Much genre and literary fiction revolves around a crime or a set of crimes. Whether we write fantasy, dystopian stories, mysteries, or experimental work, (etc.,) we often include a theft, disappearance, a killing, an abduction, or some other act that breaks the laws or codes of the world we describe. This writing workshop will focus on crime fiction both narrowly and broadly. We will consider such issues as suspenseful plotting, morally ambiguous characters, evocative settings, and writerly styles/voices. Evaluated writing will include two short stories or a chapter from an extended work of fiction, workshop responses, and short responses to published fiction.

CRW 4122-83232: Advanced Fiction Workshop (Ari, R 6-8:45)

This course builds on CRW3110 and provides emerging writers the opportunity to hone their individual voices and experiment with different aesthetical strategies. At this level, the student produces high-quality work to present in the workshop. We will explore ways to more effectively tap the reliable resources of imagination to generate new and extraordinary ideas.

DIG 3176-82056: Introduction to Digital Humanities (Heffernan, DL)

This course will offer students an introduction to the Digital Humanities in theory and practice. Students will explore UNF-based as well as national and international digital projects. They will meet historians, librarians, archivists, data scientists and critics of data science. They will learn the basics of HTML coding, data visualization, content analysis, and digital mapping. Most importantly, students will have the time and support to explore local and regional materials and to expand their skills and interests with an eye to starting their own digital project.

ENC 3212-13163: Copyediting (Donovan, MW 4:30-5:45)

This course will focus on technical editing, particularly the technique of professional copyediting. Consequently, a student who completes this course will review the basics of grammar and usage and an introduction to sentence styling and document preparation. Most importantly, students will learn the technical jargon, signs, and markup specific to technical copyediting. The course’s outcome will prepare students to do technical editing in various professional situations.

Objectives and Outcomes

  • Increase mastery of grammar, mechanics, punctuation, and spelling
  • Increase mastery of sentence styling
  • Edit documents and illustrations for correctness, consistency, and accuracy
  • Edit documents for style and organization
  • Mark a document manually and electronically using the established codes of copy editing
  • Create and learn the function of style sheets for a document
  • Learn how to use an editorial standard

ENC 3310-80519: Writing Prose (Beasley, DL)

In ENC 3310, we will examine three of the most widely-held writing rules in American institutions in the 21st century: that every paper must have a thesis statement, every paper must be free from grammar error, and every paper may only examine one topic. In short, ENC 3310 is truly an intermediate writing course. By intermediate, I mean that it serves as a pause, a time to examine the writing you have already done, but also a time to anticipate and identify the writing you would like yet to do. We will examine the difference between the effect your writing has had, and the affect you would like it to have.

ENC 4403 81562 & 82747: Grant Writing (Ziegler, DL)

From funding basic school supplies to vertical gardening to saving the whales: what change do you wish you could see in the world? Make this class work for you: whether it's funding your own research or seeking to make a difference in a selected community, enroll in a course that will train you with the skills to write and request grants. We will begin by identifying specific and interesting projects, then identify the skills necessary to write a successful, well-honed grant. Over the duration of the semester, students will draft, edit, and revise (and potentially submit) grants for funding, gaining invaluable practical knowledge and an option to make an impact on their chosen communities.

ENG 4004-83240: Research Methods in English (Beasley, TR 3:05-4:20)

This course will introduce students to a variety of empirical methods commonly used in English research such as archival methods, case studies, ethnographies, and discourse analysis. Students will utilize new technologies such as sentiment analysis software and will utilize new research paradigms such as anti-racist writing assessments.

ENG 4013-81435: Approaches to Literary Interpretation (Lieberman, TR 9:25 - 10:40)

How do expert readers go about understanding works of literature? What steps do they take? What procedures and methods do they use? What do they understand about analyzing and appreciating different kinds of print-based and digital “texts”—including fiction, drama, poetry, television and film, and sacred narrative? How do they know if they have succeeded in arriving at good (valid, strong, important, eye-opening) interpretations? What do they figure out about how works of literature are put together—about how these works use language to generate, encode, and often hide their possible meanings? About how they sometimes support and sometimes criticize the culture in which they are written and read? About what they say that cannot be said in ordinary language? How do the principles of literary interpretation apply to understanding not only non-literary texts of all kinds but also social institutions and practices, political events, economics—in sum, “cultural formations” in general? We will address these and related questions with the aim of identifying, explaining, and enjoying how literary language produces an extraordinary range of subtle, intricate, and non-obvious patterns of meaning and implication; and also with the aim of developing increasing sophistication at describing, analyzing, appreciating, and writing about this language and its significance.

ENL 4251-83241: Sex and Work in the Nineteenth Century / Studies in Victorian Literature (Heffernan, TR 12:15-1:30)

This upper-level undergraduate seminar will consider sex and work as dominant preoccupations of Victorian Literature. Queen Victoria’s reign over England and, eventually, a global empire lasted from 1837 to 1901. This era ushered in entirely new modes of labor, as Britain’s economy shifted from agriculture to urban manufacture; it saw the rise of new sciences of sexuality and legal prohibitions against prostitution and homosexuality. An explosion of print and the rise of literacy helped circulate new ideas and prompted new kinds of social organization. With the aid of contemporary scholarship on the history of sexuality, empire, and industrialism, our class will recover Victorians’ new everyday experiences of work, family life, gender, friendship, social stigma, and nativism. We will read canonical Victorian literature – Alfred Tennyson’s In Memorium, A.H.H., Marx’s Capital, Volume 1, Elizabeth Gaskell’s North and South, Arthur Conan Doyle’s The Sign of Four, and Oscar Wilde’s The Picture of Dorian Gray – alongside more ephemeral genres, including magazines and penny dreadfuls, court cases and police records, interviews and memoirs.

FIL 3006-81940: Analyzing Films (deVilliers, TR 9:25-12:05)

This course introduces students to key terms for interpreting film, including important concepts and trends in the field of cinema studies. Students will learn how to watch films with a critical eye, how to discuss cinematic form and meaning, and how to write coherent and persuasive essays analyzing film. This course provides an important foundation for more specialized courses in the film studies minor and IDS major, but will benefit anyone who wants to better understand how movies affect us, and how to put that experience into words.

FIL 3363-82038: Documentary Production (Smith, MW 4:30-7:15)

The documentary films we make in this class have only one rule: they must use real life as their raw material. Portraits, investigations, poetic montages, compilations, interviews, histories— practicing a range of documentary styles and narratives will open students to the creative possibilities of documentary film while keeping them responsible to the social and natural worlds they capture. This course is a boot camp in independent filmmaking that teaches students—beginner and advanced alike, from any field—a disciplined process of planning, shooting, recording, organizing, scripting, and editing a film. Several small film productions teach students the documentary attitude along with technical competence and increasing documentary skill as we move from Fall through Spring. The Fall and Spring Documentary Production courses are designed as a two-course sequence, with the Spring semester ending in a public screening. Take the Fall course to get to the Spring course. We are a welcoming, supportive, and ambitious community. Any questions, contact Dr. Jillian Smith: See the work of AfterImage Documentary here: 

FIL 3801-81941: Film Terms (Smith, MW 10:30-11:45)

 Film’s popularity certainly has something to do with the immediate impact it has on us, the intuitive way we apprehend it, the wonderfully word-less relationship we can have with it. Yet, a much deeper respect and engagement of its art comes with learning—and using—the terms and techniques that make it possible. This course aims for cinematic literacy. By the end of the course, students should feel an authority with the terms and techniques that are used to discuss film and to make film. The course uses a lot of short films to practice identifying techniques and using them for analysis. Discussions, short written responses, low-pressure photography assignments, as well in-class group analysis and creative, silly filmmaking are what get us to our goal of having both an intellectual knowledge of film and also a hands-on, felt understanding of film.

FIL 3833-83242: Film Genre / Science Fiction Films (deVilliers, TR 1:40-4:20)

In this course we will explore the broad genre of science fiction films (from the U.S. and East Asia in particular), considering science fiction as allegory, utopia or dystopia, visions of the future or alternative worlds, encounters with aliens or artificial life, disasters and apocalypses, and as symptomatic of cultural anxieties. By the end of the course, students will be able to: identify genre conventions and subgenres of science fiction; describe interactions among science fiction genres and history; analyze primary and secondary sources through the methodological and theoretical lenses of film theory and cultural studies; analyze science fiction subgenres and specific films in particular social and historical contexts; and develop critical reading, research, and writing skills. The final product will be a short research paper on a science fiction film of your choosing.

FIL 4361-81945: Documentary Podcasting (Smith, MW 3-4:15)

In Documentary Podcasting, students make audio documentaries that aim for a standard worthy of an online presence for public consumption. Students capture documentary material through audio—interviews, soundscapes, sound effects, environmental immersion, scripted voice-over, archive, diaries, and music—in order to craft complex, creative podcasts. They learn recording technique and equipment; research skills; narrative and scripted organization; documentary experimentation; interview styles and techniques; and audio editing. Past podcasts on the subjects of Jacksonville’s hurricane preparedness, Me Too cases, motels of Jacksonville, life after incarceration, sugar babies, and what it means to be the only black person in the room will be available for listening soon on the AfterImage Documentary website. 

FIL 4839-83243: Film Noir (Donovan, MW 12-2:45)

Are you attracted to mystery, intrigue, lust, greed, crime, disillusionment, cynicism, tragedy, and trauma? If so, good for you! The dire world of film noir is your home. This course will study the dark yet exceptionally beautiful style and tragic narratives of American film noir and neo-noir. We will study noir's roots in German expressionism, Italian neo-realism, and Depression-Era gangster movies that brought forth some of Hollywood’s greatest films of the 1940s and 1950s. In the course, we will also study the pre-and post-World War II social and cultural milieu that influences the sensibility of these films during their prime and onward in their contemporary resurgence. The films range in mood from Welles’s sinister Touch of Evil (1958) to the Coens' absurd The Big Lebowski (1998). Finally, students who enjoy hard-boiled and pulp fiction will be drawn to the literary influences of this powerfully affective film genre.

LIT 2110-81947: World Literature I (Pewitt, DL)

Our world has been inhabited by ghosts and goddesses, prophets and poisoners, sages and spirits. In this course, we will get to know them through the literary legacy their cultures have left. Scholar Max Müller famously said, “To know one is to know none,” meaning that we cannot understand any culture (even our own) without an appreciation of others as well. Next semester, students will put texts of different genres, eras, and regions in conversation with one another, while becoming versed in the scholarly inquiries within the field of global literature. We will survey the mythology, poetry, and philosophy of Egypt, China, India, Greece, Arabia, Rome, and the Norse among others. As we acquaint ourselves with various historical traditions, students will then engage with scholarly intercultural and interdisciplinary questions related to these literary canons. By illuminating new connections between disparate texts, students will form a clearer understanding of how the literature of our pre-modern past continues to influence our post-modern present.

LIT 3213-80362: The Art of Critical Reading & Writing I (Gabbard, TR 9:00-10:15)

In this class we are going to discover the fundamentals of analysis and interpretation of texts. These fundamentals will include, first, revisiting the basics of writing grammatical sentences; and, second, reading a text (be the text literary or cinematic) for its theme and how to pick out the subtle, narratological elements that help a reader to identify it. In other words, we are going to go over the basic skills of reading, analyzing, and interpreting. Literary interpretation, by the way, is an art not limited to literature. Rather, it is a foundation for sophisticated critical thinking within history, philosophy, culture, politics, law, media, the arts, and even the sciences. To practice the art of interpretation, we will read, write, discuss, and create. More than anything, our art requires gaining a working knowledge of basic literary tools (i.e., character, point of view, motif, leitmotif, etc.). We will read six short stories: Octavia Butler’s “Bloodchild,” Junot Díaz’s “Drown,” ZZ Packer’s “Brownies,” Flannery O’Connor’s “Good Country People,” Toni Morrison’s “Recitatif,” and Ben Okri’s “World’s That Flourish.” In summation, ACRW I focuses intensively on (1) writing grammatical sentences, and (2) using literary tools well. The follow-up course, Art of Critical Reading and Writing II, concentrates on using these tools to craft essay-length written interpretations.

LIT 3214: The Art of Critical Reading II (Menocal)

CRN 81948 (TR 12-1:15)

CRN 81002 (TR 10:50-12:05)

We will build on the critical reading skills students acquired in LIT 3213. We will apply the tools and techniques of literary analysis from LIT 3213 in close readings of several texts--three short stories and one novel. We will identify significant patterns in these texts, analyze the relationships between these patterns, and formulate interpretations of these relationships. Students will continue to practice these analytic skills in discussion posts and three essays. The discussion posts will provide students opportunities to develop their close reading skills and to practice constructing effective paragraphs that integrate evidence. Students will produce three essays in which they will demonstrate several abilities: to read a text closely, to propose an interpretation that is based on textual patterns, to formulate an analytic thesis, and to construct an evidence-based essay that is cohesive.

LIT 3333-81722: Young Adult Literature (Nies, Online Synchronous TR 4:30-5:45)

This course explores the history of US young adult literature, starting with the mid-nineteenth century. It explores transitions in teenage culture and evolving concepts of young adult literature, to land firmly in the present. Critical discussions will examine questions of race, gender, sexual identity, class, and ability in contemporary works. Students will write once a week, offer one scholarly presentation, and write a chapter for a proposed young adult novel that will address an overlooked area of young adult literature. Students will analyze their chapter, drawing on scholarly resources, and present it to the class as the semester closes. Books under consideration include Juliet Rivera's Juliet Takes a Breath (2016) and Mark Haddon's The Curious Incident of the Dog in the Night-Time (2003).

LIT 4243-83244: Major Authors / William Blake (Wiley, TR 1:40-2:55)

This course will focus on William Blake, the poet, engraver, artist, mystic, political theorist, visionary, Londoner, and madman. Blake’s writing and pictorial art exploded the mental, physical, and ideological shackles that contained and constrained readers at the end of the eighteenth and beginning of the nineteenth centuries. As we will see, his work still tests – and breaks through – the limits of readers in the twenty-first century. Graded work will include a midterm essay, a final essay, and a presentation. 

LIT 4650-81563: Wanderlust! The Flaneur's Modern Imagination (Lunberry, TR 4:30-5:45)

 “Everything / suddenly honks: it is 12:40 of / a Thursday”


—Frank O’Hara, from “A Step Away from Them”


Getting lost can be both exhilarating and terrifying. Getting lost can lead to finding things unimagined, stumbling onto places unknown—getting hurt, getting happy—seeing sides of others (and ourselves) unsuspected, perhaps undesired. In this course, we will hear from a number of writers and photographers for whom seeing in motion, being in time—on a walk, on a drive—led them to discoveries, to the opening of eyes and minds otherwise squinting, otherwise sealed shut. In the 19th century, the figure of the modern walker, the one deliberately losing him or herself in a city’s labyrinth of crowded streets and sidewalks, was the flâneur (and, yes, belatedly, the flâneuse). It was these “passionate observers” of the urban spectacle who dropped themselves into a setting, seeing the kaleidoscopic sights, absorbing the myriad sensations, the shocks and abrasions, and later recollecting the vivid impressions, inscribing the beauty found, the bruises received.


Among those to be read are the following: the poets Charles Baudelaire walking the sidewalks of Paris, William Carlos Williams driving the streets of New Jersey, Frank O’Hara on his lunch break in midtown Manhattan; and then, with fiction, there’s Edgar Allan Poe and his “The Man of the Crowd”; the contemporary novelist Teju Cole in his Open City of New York; Lauren Groff’s Florida, its characters stalking the streets of nearby Gainesville; and finally, we’ll look at photographers: Gordan Parks, Garry Winogrand, Diane Arbus, and Vivian Meyer, each of them picturing the gritty urban streets before them. All of these writers and photographers would appear to have deliberately lost themselves in order to find that which, if lucky, stuns and surprises, seeing what might await, what discoveries might be located. In addition to all that will be seen and read, you will in this class, each of you, undertake excursions of your own devising, for your own “flaneur/flâneuse projects,” entering into the Jacksonvillian sprawl of speed and sensation (or any other appropriate location), wandering into the local wilderness that constitutes our own post-urban world.


View a full color course flyer here.

LIT 4934-83245: Inventing Death / Senior Seminar (Mauro, Online Synchronous MW 1:30-2:45)

We begin with and form this class around Ernest Becker’s landmark book, The Denial of Death. The claim he makes is difficult in every possible way: in response to our mortality (the fact to which we are both horrifyingly sensitive and yet profoundly numb) we create the culture(s) we have. This class is dedicated to exploring the implications, the applications and the extent of that claim. In order to do so we will be reading through material that is intellectually and psychologically difficult. Our discussions will be devoted to how our texts critique what we regard as normalcy and will therefore likely tread on some of our most reflexive or cherished assumptions and beliefs. I would wish for this gathering a supportive, encouraging and sensitive environment within which this critique can emerge. Daily reading quizzes, two papers, are among the evaluation criteria.

LIT 4934-80875: Reading Matters / Senior Seminar (Turney, DL)

Sick of “required reading”? Have an ever-growing list of books “to be read”? A list of books you know you probably should read, or books you want to read but have not found the time or context to do so? In this online course, we will fall back in love with reading while also "paying it forward.” The central question of this course explores why (and how) reading matters to our lives, and your time spent in this course will yield fascinating and complex answers. With professor input, each student will design a personal curriculum of readings that matter to you, reflecting on the construction and meaning of your list, as well as the ultimate impact of that reading upon you. We will share in our experiences of the act of reading while creating access to reading materials for communities beyond our class. Thus, there is a component of this course based in service-learning; we will devise, shape, and complete this component collectively, as we explore how and why reading matters to our communities and to our own lives. If you have questions, please contact Russ Turney at