Fall 2010

The following are the course numbers of the classes offered through the English Department (listed within The University Catalog under ENGL). Each number will send you to a brief description of the course, when available.
130 203 220 230 240 251
252 253 254 258 260 264
276 277 278 303 320 321
327 332 333 335 340 341
342 353 354 356 357 358
359 360 371 372 375 415
416 421 431 441 445 448
449 450 451 452 454 456
457 458 459 461 462 467
470 471 475 476 477 520

English 130: Academic Writing

English 203: Shakespeare On Film

English 220: Creative Writing

English 230: Intro to Technical Writing

English 240: Introduction to Literature

English 251: African American Literature

English 252: American Indian Literature

English 253: Asian American Literature

English 254: Chicano/Latina/o Literature

English 258: World Literature

English 260: Great Books

Section(s): 1, 2 
John Traver

From the visions of hell in Dante’s Inferno to the super-heroes in Alan Moore’s Watchmen, imaginative works have exercised a vital role in the development of literature and culture. From talking wolves in Aesop’s Fables to talking horses in Gulliver’s Travels, authors envision strange worlds which provide new perspectives on everyday life, or they might demonstrate that the “ideal” world we imagined isn’t as desirable as we thought it was. Our class will cover a diversity of genres, drawing from the novel (e.g., Shelley’s Frankenstein), poetry (e.g., Coleridge’s The Rime of the Ancient Mariner), and the drama (e.g., Shakespeare’s A Midsummer Night’s Dream).

Course expectations:  short writing assignments, 2 papers, a mid-term, and a final exam.


  • Dante, Inferno
  • Alan Moore, Watchmen
  • William Shakespeare, A Midsummer Night’s Dream
  • Jonathan Swift, Gulliver’s Travels
  • Mary Shelley, Frankenstein
  • Coursepacket

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English 264: American Ethnic/Regional Writers

English 276 British Literature Survey

John Traver

“Some books are to be tasted, others to be swallowed, and some few to be chewed and digested.” -Sir Francis Bacon

This course provides you with a full-course meal of British literature. We will survey the development of British literature, beginning with the Medieval period (with works such as Beowulfand The Canterbury Tales), continuing through the Renaissance and early Seventeenth Century (with authors such as Shakespeare and Donne), and concluding our repast with the Restoration and Eighteenth Century (with works such as Pope’s The Rape of the Lock and Swift’s Gulliver’s Travels). In order to survey such a wide-spanning period of history, our pace will have to be fast (i.e., a lot of texts will be “tasted” or hastily “swallowed”). As a result, you will not only discover how British literary traditions develop over time, but also be introduced to a variety of delectable texts for future periods of digestion.

Assignments will include the following:  a mid-term examination and a final; journals and vista postings; a group presentation; poetry memorization; quizzes.

  • Volumes 1-3 of The Broadview Anthology of British Literature.
  • Samuel Johnson, The History of Rasselas, ed. Jessica Richard (Broadview).
    (Note that all 4 Broadview texts are available at a discount when purchased together.)

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English 277: Survey of British Literature II

Section(s): 1 
Geoff Baker

The goal of this course is to give us a solid grounding in the major works and figures of British and Irish literature from Romanticism in the late-eighteenth century to postmodernism and the present day. For those hoping to go on to careers as teachers of literature or language, this is a chance to grasp larger movements and issues over time—valuable context for the period in which you are specializing or for your overall knowledge of the British literary canon. For those heading into other professional spheres, this is a chance to hit one classic after another.

Assignments will include 2 midterms and a final exam; a few brief writings on Vista; and regular participation in class discussions.


  • The Norton Anthology of English Literature, 8th ed, package 2, (The Romantic Period through the Twentieth Century and After), ISBN: 0393928349

English 278: Survey of American Literature I

Section(s): 1 
Lynn Houston

If you've ever wondered what it really means to be American or what our country is all about, you should take this course. In it, we learn what different authors over the course of 300 years have found special about it! We begin by looking at some of the journals kept by Europeans who travel in the Americas during the fifteenth and sixteenth centuries and their initial impressions of the land and the indigenous peoples they encountered, as well as the biases in world view they brought with them to the "new" land. We move into the documents of the early American colonies, examining the problems that led to starvation and strife amongst the colonists. Then, we read works related to American revolution and independence. We then examine the critiques made in slave narratives against white, Christian culture and the plantation economy of the South. Students always love the American manifestations of Romanticism that come next! First, we deal with Ralph Waldo Emerson and Henry David Thoreau. The Transcendentalists were the hippies of the nineteenth century! Next, we discuss works in the movement called the American Renaissance—Washington Irving, Nathaniel Hawthorne, and Edgar Allen Poe. Some of these stories (the ones that fall into the American Gothic category) are pretty scary! Mainly, however, these authors try to find what is unique about America and convey it in their stories. We end with an examination of the poetry of Walt Whitman and Emily Dickinson. If you like latent sexual imagery (or in Whitman's case, not so latent), you will enjoy the works of these fine poets whose work still influences many contemporary poets!

Readings wll be selected from volumes A and B of the Heath Anthology of American Literature (6th ed.). The major assignments for the course will most likely be a midterm and a final exam consisting of passage identification and short essay questions.

English 303: Survey of American Film

Lynn Houston

This course provides a historical survey, beginning in the Hollywood Studio era of the '40s and ending in our contemporary time. The course meets for brief discussion on T/TH and then meets to watch a weekly movie on Thursday nights. Readings from feminist theory and film theory/criticism will accompany and enhance our discussions. This course may fulfill the same requirement in the general education upper division THEME O: Women's Issues as ENGL 365: Women Writers (check with theme coordinator). This semester's course will start with films that give us a general background in gender issues and then investigate more specifically the representation of women in interracial and interspecies romances. Possible films might include: King Kong (1933), Island in the Sun (1957), Guess Who’s Coming to Dinner (1967), Barbella (1968), Superman (1978), The Incredible Hulk (1978), Starman (1984), Splash (1984), Enemy Mine (1985), The Fly (1986), The Little Mermaid (1989), Jungle Fever (1991), City of Angels (1998), Meet Joe Black (1998), and Avatar (2009).

English 320: Poetry Writing

Section(s): 1, 2 
Jeanne Clark

"One breath taken completely; one poem, fully written, fully readin such a moment, anything can happen." -Jane Hirshfieldhttp://www.goodreads.com/author/show/110180.Jane_Hirshfield (Nine Gates: Entering the Mind of Poetry http://www.goodreads.com/book/quotes/440025)

The aim of this course is to make you a better writer of poetry by making you a better reader of poetry. Reading poetry—and writing it—is a matter of paying attention, of being alive to the possibilities of language, of learning to appreciate craft, and allowing the poem to be what it wants to be, and all it can be, in combining and reacting with the speaker’s sensibility. You will read poems by both established & up-&-coming poets, representing a wide constellation of voices, approaches, and subjects.  
Each week you’ll complete a poem draft—writing (or rewriting) a poem in response to an instructor prompt. We’ll read poems—yours and those of well-known and emerging poets—and talk about what we find there in terms of news and craft. We’ll experiment with revision and talk about the art of submitting work for publication. Some of the scheduled class periods will be devoted to reading and to craft issues, and some will be devoted to “workshopping” your poems. The “fifth hour” will be used for alternative activities, both individual and small group activities rather than whole class meetings: visiting a local letterpress collective and art galleries, sauntering through woodlands, talking with visiting writers about writing and the writing life, and so on.
Prerequisite: English 220, or permission of the instructor. Questions?  Contact Jeanne Clark (Taylor 122), jeclark2@csuchico.edu)

English 321: Fiction Writing

English 327: Creative Nonfiction

Rob Davidson

Creative non-fiction is one of the hottest, most popular, and engaging literary forms of our era. In English 327 students will:

  • Write and revise three substantial pieces of creative non-fiction: memoir, personal essay, and literary journalism. Most of your writing will draw from the events of your own life.
  • Discuss what creative non-fiction is, and how it overlaps with (creative, imaginative) fiction and (non-fiction, fact-based) journalism.
  • Read and discuss first-rate contemporary examples of creative non-fiction by published writers.
  • Workshop your writing in a supportive, enthusiastic, and analytical environment
  • Do various exercises to help you comb through your own life and experiences to find subject matter (you don’t necessarily need an “exciting” life to have material)
  • Learn about the techniques and apply the techniques imaginative writers use to put together compelling essays and stories


  • Maxine Hong Kingston, The Woman Warrior: Memoirs of a Girlhood Among Ghosts
  • Jamaica Kincaid, A Small Place
  • Bill Roorbach, ed., Contemporary Creative Nonfiction: The Art of Truth


  • Engl 327 is a “WP” class and thereby fulfills the Writing Proficiency requirement.
  • While the class is currently scheduled for five hours per week, we will meet for four class hours and the fifth scheduled hour is currently “TBA.” For more information, contact Dr. Davidson at 530-898-6372 or rgdavidson@csuchico.edu

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English 332: Intro to Literacy Studies

English 333: Advanced Composition for Future Teachers

English 335: Rhetoric and Writing

Lois Bueler

In this course students both write a range of short and long assignments (the “writing” part) and study what and how they are doing it (the “rhetoric” part). In my section we will look closely at style—how writers put their words together to achieve clarity and interest—and practice many sorts of sentences and paragraphs. We will look closely at organization—how writers construct effective texts—and experiment with creating and moving the components of texts to accomplish our purposes. We will engage in research projects based on the present life and the memories and archives of Chico State and the community of Chico. Finally, we will learn something about the way the field of rhetoric has been organized and talked about for the past 2500 or so years.

My students tell me this course helps them feel like real working writers. I hope you will think so too. 

English 340: Approaches to Literary Genres

Section(s): 1 
 Teresa Huffman Traver

This course offers an introduction to the rich, fascinating, and complicated world of literary studies. As the name of the course suggests, you’ll investigate the major genres of literature, including poetry, short and long fiction, drama, and non-fiction prose. You’ll learn some of the tools of the trade you’ll need for future coursework in English, but you’ll also get a chance to think about the reasons why human beings write, read, and need literature.

Assignments include a series of short papers, assorted short assignments and quizzes, occasional required discussion board posts, and a midterm and final exam. Class participation and attendance are required.


  • Edgar V. Roberts’ Literature: An Introduction to Reading and Writing
  • Autobiography of John Stuart Mill (Penguin Classics)
  • Henry James The Turn of the Screw (Bedford 2010 edition).

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English 341: Reading Literature for Future Teachers

English 342: Literature of the Child

English 353: Multicultural Literature

English 354: Classical Literature

English 356: Survey of British Literature

English 357: Survey of British Literature

English 358: Survey of American Literature

English 359: Survey of American Literature

English 360: Women Writers

Section(s): 1 
Teresa Huffman Traver

This course focuses on the continuing literary legacy of Jane Austen. We will read two of Austen’s novels (in addition to some of her letters), but we will also read works from the nineteenth and twentieth centuries which bear tribute to Austen, in various ways. Along the way, we’ll also view selections from recent film adaptations of Austen’s work. We will spend considerable time discussing Austen’s own time period (late eighteenth and early nineteenth-century Britain), but we’ll also raise questions about Austen’s seemingly eternal appeal. Why are people still making film versions of Pride and Prejudice more than 200 years after Austen began writing it? What relationship (if any) does the twentieth-century Regency romance bear to Austen’s work? And, above all, how do we read Austen today?

Assignments include one major paper and two shorter papers, required discussion board posts, and mid-term and final exams. Class participation and attendance are required.


  • Jane Austen, Pride and Prejudice and Emma
  • Georgette Heye, Frederica
  • Shannon Hale, Austenland

Lynn Houston

ENGL/WMST 360 will expose students to a range of literary works in which women writers express a complex relationship to culture and society. We will discuss historical and current practices, examine institutions and belief systems that impact women’s lives, and identify ways women writers confront social, economic, political and personal issues. One of the themes of this course will be the way that women have written about interracial and interspecies romances.

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English 371: Principles of Language

English 372: Pedagogical Grammar

English 375: Introduction to English Grammar

English 415: Literary Editing

English 416: Editing for Publication

English 421: Advanced Fiction Writing

English 431: Theory/Practice in Tutoring Composition

English 441: Shakespeare

English 445: Early British Literature

English 448: The Long Eighteenth Century

Section(s): 1
John Traver

This course introduces you to a broad survey of Restoration and eighteenth-century British literature and its social, political, and religious contexts. You will encounter a variety of eighteenth-century texts (e.g., novels, poems, dramas, sequential art, essays, songs, and even newspapers), all of which participate together in a broader cultural conversation. We will struggle with the question, “Just what is the long eighteenth century?” as we encounter a singing highwayman, a man disguised as a eunuch to attract women, an imagined love poem to an actualeunuch, the discovery that both men and women use the bathroom, a world populated by “fish men” and “worm men,” fire and plague (literally), revolution, persecution, and the flowering of cat poetry.

Assignments will include the following: a midterm and a final; two papers; occasional short writing assignments (pass/fail); a class presentation; memorization of one poem of your choice; class participation.


  • The Broadview Anthology of British Literature, Vol. 3, The Restoration and the Eighteenth Century
  • Henry Fielding, Joseph Andrews/Shamela, Penguin
  • Samuel Richardson, Pamela, Oxford World’s Classics

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English 449: The Romantic Period

English 450: The Victorian Period

Section(s): 1 
Teresa Huffman Traver

Queen Victoria reigned from 1837 to 1901, a time when many of works we now think of as “classics” of British literature appeared. This course provides students with exposure to (and understanding) of the literature and culture of the Victorian era. We’ll read a broad range of Victorian literature, including non-fiction prose (essays), poetry, drama, and both short and long fiction, but we will also pay attention to the broader cultural context in which these literary works appear. The course will also familiarize you with some of the kinds of criticism produced by Victorian studies scholars.

Assignments include a mid-term and final exam; two papers; additional short assignments and occasional quizzes. Class participation and attendance are required.


  • Broadview Anthology of British Literature: The Victorian Era
  • Emily Brontë, Wuthering Heights. (Bedford Edition)
  • Sir Arthur Conan Doyle, The Sign of Four (Edition TBA)
  • Tom Taylor, The Ticket-of-Leave Man (Edition TBA)

English 451: Modern Poetry

English 452: Development of British Drama

English 454: Comparative Literature

Geoff Baker

Keeping It Unreal: Natural and Supernatural from Frankenstein to Stephen King

In this class, we’ll read a handful of famous novels from about 1800 to the present alongside brief theoretical readings that address the relationship between real and unreal. The supernatural gets used by novelists in very different ways: as a political challenge to certain notions of “reality,” for example; as a sometimes racist codeword for foreignness; or perhaps even as a sexist codeword for subversive femininity. Readings will include:

Brief excerpts from John Locke, Samuel Johnson, Anna Letitia Aikin and John Aikin, Immanuel Kant, William Wordsworth, Simone de Beauvoir, Ian Watt, Fredric Jameson, Ashis Nandy, Edward Said, John McClure, and Gauri Viswanathan

Fiction chosen from Mary Shelley, E.T.A. Hoffmann (“The Sandman”), Washington Irving (headless horsemen!), Honoré de Balzac, Edgar Allen Poe, Annette von Droste-Hülshoff (vengeful trees!), H. Rider Haggard (Indiana Jones!), Bram Stoker (Dracula!), Franz Kafka (dude becomes cockroach!), Alejo Carpentier (magical realism), Karen Blixen, Tayeb Salih, Isabel Allende, Toni Morrison, and Stephen King

This course fills either a period or genre requirement for the old English major. It counts as a later elective for the new English major.

Contact Geoff with questions at gabaker at csuchico.edu.

English 456: The British Novel

Section(s): 1 
Geoff Baker

In this class, we’ll try the “quality-over-quantity” approach and confine ourselves to in-depth discussion of just three masterpieces of Victorian fiction, along with brief readings that offer context for the issues they address: the consequences of revolutionary movements in the U.S. and on the Continent; shifting boundaries between the classes; shifting conceptions of gender; the onset of globalization, as technology and (corrupt) international finance shrink the world; the tension between country and city in England; the rise and fear of metropolitan London; and the effect that all of these issues have on the British Novel.

In addition to brief contextual readings by historians, philosophers, literary theorists, and poets, we’ll cover:

  • William Makepeace Thackeray, Vanity Fair (1847-48)
    “His wit is bright, his humor attractive” (Charlotte Brontë)
  • George Eliot, Middlemarch (1871-72)
    “one of the few English novels written for grown-ups” (Virginia Woolf)
  • Anthony Trollope, The Way We Live Now (1875)
    “the book you need to read right now” (Newsweek in 2009)

E-mail Geoff with questions at gabaker@csuchico.edu.

English 457: The Misfits in American Novel

Aiping Zhang

To conform, or not to conform to conventions, that has always been a tough question for people who want to “live deliberately” and for writers who see originality as the life of literature. Often, those who chose not to conform ended up being discarded as “misfits,” if not “losers.” The portrayal of such “misfits” has been a long and unique tradition in American novel, and many writers themselves were treated by their peers as “misfits” for featuring non-conformable characters in their non-conventional novels. Today, however, most, if not all, of these “misfits” have become archetypal characters in American literature and their creators have been acclaimed as masters of American novel writing. Through a comparative reading of representative novels by writers of different time, gender, ethnicity, and style, we will not only find out what turned these characters and writers into “misfits,” but also examine all the visions, inventions, subtleties, ambiguities, and controversies these writers have contributed to American novel writing.


  • Kate Chopin, The Awakening
  • William Faulkner, As I Lay Dying
  • Gertrude Stein, Three Lives
  • Michael Cunningham, The Hours
  • Joseph Heller, Catch-22
  • John Okada, No-No Boy
  • Nathathiel Hawthorne, The Blithedale Romance
  • Toni Morrison, Paradise

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English 458: American Literature-Beginning to 1850s

English 459: American Literature-1850 to 1945

Section(s): 1 
Lynn Houston

This course will examine novels written about the Civil War, possibly including works by Stephen Crane, Edward P. Jones, Shelby Foote, Charles Frazier, Kaye Gibbons, Alice Randall, Allen B. Ballard, and Thomas Dyja. We will start by watching some of the movie Gone With the Wind, based on Margaret Mitchell’s classic. Here is a possible reading list from which I will make selections:

  • Stephen Crane, The Red Badge of Courage, 1895
  • John W. De Forest, Miss Ravenel's Conversion from Secession to Loyalty, 1867
  • William Faulkner, The Unvanquished, 1938
  • George Washington Cable, Dr. Sevier, 1885
  • Ellen Glasgow, The Battle-Ground, 1902
  • Caroline Gordon, None Shall Look Back, 1937
  • DuBose Heyward, Peter Ashley, 1932
  • MacKinlay Kantor, Long Remember, 1934
  • Ross Lockridge, Jr., Raintree County, 1947
  • Andrew Lytle, The Long Night, 1936
  • Joseph Stanley Pennell, The History of Rome Hanks and Kindred Matters, 1944
  • Evelyn Scott, The Wave, 1929
  • Allen Tate, The Fathers, 1938
  • Stark Young, So Red the Rose, 1934
  • Joel Chandler Harris, On the Plantation: A Story of a Georgia Boy’s Adventures During the War, 1892
  • Edgar Lee Masters, The Tide of Time, 1937

English 461: Modern Novel

English 462: Study in Major American Authors

English 467: Teaching Multicultural Literature

English 470: Second Language Acquisition

English 471: Intensive Theory & Practice; Second Language Acquisition

English 475: History of the English Language

English 476: Phonological Analysis

English 477: Semantics: Language and Meaning

English 520: Undergraduate Writer's Workshop

Section(s): 1 
Rob Davidson

Course Description: This fall’s Undergraduate Writer’s Workshop will be multi-genre, meaning that we’ll write and workshop in-progress creative work in fiction, poetry, and nonfiction, and we’ll discuss theoretical and craft issues relevant to the work being produced. This course will be useful to your growth as a writer if you: 1) are in the process of producing creative work that aims to be serious and ambitious; 2) already have experience producing and discussing serious creative work in a workshop environment; and 3) are an engaged reader of others’ new work and are willing to share your observations in class. “Serious and ambitious” refers to writing that aims to do what the stories, poems, and nonfiction found in literary quarterlies aim to do.

Prerequisite: At least one 400-level creative writing course or instructor permission.

Requirements: All students will write and submit new work in their chosen genre for class discussion. Revisions to this work will be compiled in a term-end portfolio. Generally speaking, prose writers are expected to produce two complete stories or essays. Poets will draft 12-15 pages of new poetry. Written critiques of workshopped pieces are expected. Finally, students will write a series of critical response papers to assigned readings and may be required to compile a personal reading list, in addition to the required texts.


  • Elizabeth Bishop, Geography III
  • J. M. Coetzee, Disgrace
  • Tony Hoagland, What Narcissism Means to Me
  • Lorrie Moore, Self-Help
  • David Foster Wallace, A Supposedly Fun Thing I’ll Never Do Again

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