COURSE DESCRIPTION BOOKLET Undergraduate Level Courses

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1030-1120a MWF 001 Stock, R 4202 Aim: to examine the Hebrew Scriptures (known to Christians as the Old Testament) and the Christian scriptures (the Old and the New Testament) to get a better understanding of the literary techniques, major characters, central themes, of this literature. The emphasis will be on literary values rather than theology or doctrine, so that students will be studying the Bible much as they might study Shakespeare or Milton. Teaching: informal lecture and class discussion; discussion will be encouraged. Requirements: critical term paper, midterm examination, final examination, periodic short writing exercises in class. Text: the only required text is the King James Version of the Bible. Students must have copies of this English translation and bring them to class. This text will be supplemented, however, by some modern translations and criticism. ENGL 344 - ETHNICITY & FILM Time Days Sec Faculty Class# 0930-1045a TR 001 Dreher, K 23456 Aim: Teaching Method: Requirements: Tentative Reading List: ENGL 345N - NATIVE AMERICAN WOMEN WRITERS Time Days Sec Faculty Class# 1230-0120p MWF 001 Gannon, T 10019 AIM: This course is a survey of Native American literatures, a body of texts of true diversity in both its great variety of genres and the variety of its historical & cultural contexts. The broad socio-historical scope notwithstanding, an appropriate emphasis will be placed upon the "Native American Renaissance" that began in the latter 1960's. And so representative authors will include both pre-modern shamans & "matriarchs"—AND postmodern "warriors" & tricksters. The selections from the Trout anthology are, at times, teasingly brief; but, with the Sherman Alexie collection of short stories and the James Welch novel, they all ask the same question, ultimately: how can one "imagine a new language when the language of the enemy" seems to inevitably render the indigenous Other culturally inarticulate (Alexie)? At last, I hope you'll agree that such a "new language" is now positively, even eloquently, articulate in contemporary Native American literature(s). TEACHING METHOD: Discussion, with some lecture and group work. REQUIREMENTS: Attendance & oral participation; semi-weekly responses to the readings, two formal research papers, and a final essay exam. READING LIST: 20 – UNL DEPARTMENT OF ENGLISH, SPRING 2014
Trout, ed.: Native American Literature: An Anthology (including readings from Winnemucca, Standing Bear, Lame Deer, Momaday, V. Deloria, Jr., Silko, Welch, Vizenor, Hogan, Kenny, Bruchac, Erdrich, and Alexie); Sherman Alexie: The Lone Ranger and Tonto Fistfight in Heaven; James Welch: The Death of Jim Loney ENGL 349 - NATIONAL CINEMAS -- "WORLD CINEMA" Time Days Sec Faculty Class# 0600-0845p R 101 Najafi Kianfar, N 17420 Special fee=$30. Aim: This course will focus on and explore World Cinema. The influence of these international filmmakers on the art of cinema as well as the cultural, social, and political circumstances within their countries during various pivotal historical periods throughout the twentieth century will serve as our entry point into understanding the meanings, both theoretical and critical, as well as the craft associated with these films, and how that craft of the art of cinema contributes to its theoretical and critical understanding and representation. We will explore historical contexts that contributed, inspired, regulated, or otherwise influenced, either under censorship or protest, the production of these films. This is an exciting class where we will watch and learn how these filmmakers use their techniques to work with space, realism, symbolism, language, narration, music, and structure all in their deliberate framing of shots. In other words, this class will focus on the rhetoric existent and evident within shot composition as well as how that rhetoric contributes to their aesthetic and historical context. We will study filmmakers and how they utilize also political, social, and economic approaches to their work. However, what remains paramount to our approach to understanding the films we view is the argument the film presents—and how that film chooses to frame that argument through and on the screen, which means understanding the purpose of the composition of the image, camera placement, angle, the narrative structure of the film, as well as the music and sound throughout the film. This class relies on reading as well; that is, I expect students to utilize the weekly reading assignments within their papers, similar to the practice necessary when writing research papers. A tentative sample of the films we will watch include, Y Tu Mama Tambien, Daisies, Viridiana, Throne of Blood, Melancholia, Solaris, The Spirit of the Beehive. We look at a wide range of filmmakers from around the world; therefore we discuss politics, culture, race, class, sexuality, and other identity markers. As a class, this course is quite unique because it covers films unfamiliar to most American audiences as well as films both ignored and forgotten by majority of western audiences. Discovering these films again or for the first time promises to heighten our sense of understanding for the cultures, identities, as well as the political, social, and economic circumstances permeating the lives of peoples from particular places around the world, an understanding that will no doubt complement our own sense of place and identity within our own cultural frame. Teaching Method: Weekly in-class film screenings, brief lectures, group discussion. We write weekly papers of 3-5 pages in length and we have one final project—a final reflective journal. We do a significant amount of reading about these films and the filmmakers, analysis of films, and circumstances surrounding the making of the films, among other aspects. Again, the rhetoric inherent within shot composition plays a significant role in how we discuss and write about the film we watch and study. No prior knowledge of film, World Cinema, and the countries whose films we watch is necessary. Developing analytical writing skills is very important. Requirements: Weekly papers of 3-5 pages, weekly reading assignments, active discussion. Participation is key. Openness to different types of films, from international/cultural to documentary and from art-house films to more mainstream cinema. Some of our films show graphic violence and sexuality. Additional Requirement: Everyone is required to attend a special screening of a foreign film at the Marie Ripma Ross Media Arts Center. This is in addition to our regular weekly in-class screenings. Details will be discussed in class. UNL DEPARTMENT OF ENGLISH, SPRING 2014 – 21
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COURSE DESCRIPTION BOOKLET Undergraduate Level Courses

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